Windlesoul

Bob Collins and the Fabulous Five By E. Mark Windle. Bob Collins and the Fabulous Five from Greensboro, NC were a popular frat party booking throughout the Carolinas and Virginia. Venues in the 1960s included the Polo Club (Winston, Salem), the Casino (Nags Head, NC) and the National Guard Armoury (Greenville, NC). Their largest mainstream hit in the mid 1960s was “If I Didn’t Have a Dime” a.k.a. “Jukebox”, a previous minor hit for Gene Pitney. Their version was released on the Greensboro label Jokers 3. The band was originally formed in 1961 and continued until 2007. It had at least twenty-five members in its long history. From a northern soul perspective, “Inventory on Heartaches” (Main Line ML1367) and its flip “One and Only Girl’ both written by Donny Trexler are of most interest. Both tracks stand up as top quality up-tempo northern dancers, possibly with “Inventory” having the beach edge with its catchy phrasing and “One and Only Girl” taking a grittier soul duo type approach. The first time “Inventory on Heartaches” was introduced to the northern scene is unclear. Kev Roberts reports that he came across the record in 1981 whilst living in the US. However Butch got his first copy around the same time from collectors Dave Withers and Rod Shard, and then located a second copy about a year later, which he thinks was given to Rob Marriot in exchange for a copy of The Hyperions “Why Do You Wanna Treat Me the Way You Do”. All parties agree that “Inventory on Heartaches” was never really given the initial exposure on the northern scene that it deserved. At the time, the flip was better known, albeit played as an Eddie and Ernie “cover up” by Rob Marriot. This situation seems to have reversed in latter years however. “Inventory on Heartache” was reissued in the US in 1990 on vinyl and a year later on “Grand Strand Gold Volume 3” (Ripete CD). Further releases occurred as part of the CD box set sold along with the publication of Greg Haynes’ Heeey Baby Days book in 2006 and in the UK two years later on the beach / northern soul related CD “Ain’t Nothin’ Like Shaggin’ ” (Goldsoul). Marion Carter from Ripete further reported that the label re-recorded another version of the song in the late 1990's by some original members of the Fabulous Five including Donny Trexler, although Bob himself was not involved in the project. The original Main Line label was just one activity of the Main Line distributing company based in Cleveland. The company distributed appliances, appliance parts – and records. The label logo was the same as that used by the business in all its activities. Main Line was part owned by RCA. The label even utilised the services of legendary Detroit writer and arranger Dale Warren at one point for a recording by local Cleveland band Selective Service. Tracking down band members was a challenge. Bob Collins who (contrary to previous reports) sang lead on “Inventory on Heartaches” is now retired from singing and has moved from Myrtle Beach to High Point NC. However, Donny Trexler, band founder and writer of both sides of the Main Line release still performs at venues along Myrtle Beach and was available for interview. Donny was the founder, writer, guitarist and vocalist for The Fabulous Five between 1961 and 1968. He began his singing career at a tender age in Summerfield, near Greensboro, NC. He initially sang in church, and at eight years old performed with Joe Stone and the Dixie Mountain Boys, a blue grass band. In 1958 Donny was hooked on rock and roll and taught himself guitar. At high school aged 14, he formed a five piece band called Donny and the Blue Jets (the name of the school football team), and then joined another group which eventually evolved into the Fabulous Five. As well as his time with The Fabulous Five, he recorded throughout the seventies with his wife in two long running beach bands. In November 2000 Donny was presented with the Carolina Beach Music Academy Award for lifetime achievement, inducted into the South Carolina Rhythm and Blues Hall of Fame a year later and received the Palmetto Award from the local Governor Hodges. In 2007 he was nominated for Carolina Beach Music Awards (CBMA) Instrumentalist of the Year Award. Donny and Susan now live and work in north Myrtle Beach. “I wrote "Inventory On Heartaches" and "One And Only Girl" in 1967; at that time the Fabulous Five had been a group for about six or seven years." Donny says. "The group started around 1960 as The Sixteens in a club called Henry's Danceland in Stokesdale, NC near Greensboro, NC I was an original member. The Sixteens took on Bob Collins as a drummer in the summer of 1960 and then the group was renamed Chuck Tilley and The Fabulous Five in January of 1961. Bob Collins became the lead singer in late January 1962 when the group dismissed Chuck Tilley. We performed in clubs, for fraternity parties, for debutante parties and in many other venues throughout the south-east U.S. We opened for groups like The Impressions, Anthony and the Imperials, the Tams, Wilson Pickett and many more in the 60s. In 1966 we recorded “If I Didn't Have A Dime (Jukebox)”, on which I sang the lead. That song was a great success for us and still is for me.” “Regarding the other band members, there were many throughout the years. When “Inventory” was recorded in January 1968 they were Bob Collins (lead vocals), Tommy Tucker (saxophone), Allen Brewer (bass), Lenny Collins (on drums, and no relation to Bob), John Cook (keyboards) and Donny Trexler (lead guitar). I stay in touch with Allen and John but not much contact with anyone else. Tommy Tucker died in 2008 and I heard that Lenny Collins isn't doing too well health-wise. I left the group in late February 1968 to start another group called the Music Era. We were on Atlantic Records and had an upbeat remake of “What The World Needs Now”, the old Jackie DeShannon tune. I wrote the flip side called "I Can't Take It." The Music Era disbanded in late December 1968 because of the military draft. I then joined The Okaysion's and played with them (MW: as lead singer and on guitar) until spring 1972. My wife, Susan, and I started a group called Swing in September 1972 that lasted 16 years. We even did a remake of "Inventory On Heartaches" in 2005 with Susan Trexler on lead vocals. That was a number one song in beach music at that time. I still do five or six gigs a week and Susan sings with me sometimes.” Billy Ray Smith, drummer with the band between 1978-1980, provided some insight into the whereabouts and current activities of some of the former band members: “I was with a group called The Shapparells at the time and became Bob’s drummer when that position came open. At that time the only original members left were Bob and John Cook on keyboards. During that period, beach music and blue eyed soul were still popular around the college campuses so we did a lot of those up and down the east coast. We also continued to play the beach clubs and festivals with all the other beach bands. These festivals are still popular today with several still going on annually in Virginia and the Carolinas. The band I am currently with, The Impacts, contains three former members of The Fabulous Five: John Cook, Randy Case, and myself. We do the old Fabulous Five tune “Jukebox” in most of our shows. We get a lot of requests for it because people know we're the closest thing to the original Fabulous Five left now. Randy Case joined the Five in 1977 and stayed for about a year. The band disbanded in 2007 and John Cook joined The Impacts later that year. John has appeared in many bands through the years doing guest spots or just playing where he could when bands he was with were taking time off. He has MS and playing music is about the only way he is able to make any money so he tries to stay busy. Unfortunately, his years of performing haven't provided much of a retirement fund. He had taken some time away from The Impacts this year but is scheduled to rejoin us in June. I am afraid his age (now 68) and the illness are starting to take a toll on him so please keep him in your prayers. Again thanks for remembering us.” Copyright E. Mark Windle 2013. References Billy Ray Smith. Personal coms. April and May 2012. Donny Trexler. Personal coms. May 2012. George Gell. Personal coms. May and July 2012. Kev Roberts. Personal coms. June 2012. Ripete Records. Marion Carter. Personal coms. May 2012. Mark Dobson. Personal coms. June 2012. Susan Trexler. Personal coms. May 2012. Website: htto://www.theimpactsband.com Website: http://livemusicjunkie.blogspot.co.uk/2008/09/donny-trexler-comes-of-age.html Website: http://www.donnyandsusantrexler.com/about.html

The Generation By Mark Windle This Wilmington, North Carolina band was largely composed of high school students. Their sole 45 release was a very competent beach cover of The O’Jay’s Minit classic “Hold on” on a local Wilmington label in 1968. As The O’Jays version was already a northern soul classic, it was perhaps not surprising that The Generation’s take (Mockingbird MR 1010) would also find favour on the British soul scene. An up-tempo soul dancer, this track is not dissimilar to The O’Jays, other than the blue-eyed vocal presence and a short organ break characteristic of many beach bands. Wigan Casino DJ Richard Searling originally acquired it from John Anderson at Soul Bowl in 1976 and was first to play this on the UK scene. The track was covered up as The Soul Generation – a risky cover up name perhaps, yet its true identity remained unknown to the scene for at least 18 months and it was even released with the cover up name on UK RCA’s northern soul reissue label (Grapevine GRP 131). Band members were Eddie Miller (rhythm guitar, lead vocal), his brother Bobby Miller (bass guitar, backing vocal), Robert Bordeaux (lead guitar, backing vocal), Chuck Shipton (keyboards) and Randy Luther (drums). Eddie Miller, lead singer for The Generation, still performs today with the Jamie Band throughout the Carolinas. He describes the band’s influences at the time as a mix of the British Invasion and soul – The Beatles, The Who, The Rolling Stones and The Moody Blues, but also Sam and Dave, The Spencer Davis Group, Wilson Pickett and Ray Charles. He also remembered recording “Hold On”. The Mockingbird label was the brainchild of ‘Doc’ Johnson, a Wilmington local who had his own recording studio and label. The studio and label slogan was “Listen to the Mockingbird”. There were a couple of other soul orientated releases on Doc Johnson’s label, including the 1969 release by King Louie and the Court Jesters (MR 1007) “I’ve Been Down So Long” a deep soul ballad, with the funk flip “Broadway Up Tight” (King went on a year later to cut sessions, unreleased at the time, at Reflection Recording Studios in Charlotte, NC, backed by what was essentially The Tempests). The Generation were together for two years, from the spring of 1967 until 1969. “Eddie, Robert, Bobby and I originally attended New Hanover High School” says Chuck Shipton. “Randy Luther had graduated High School in Statesville NC and came to Wrightsville Beach. He became our drummer in 1967. In 1968 Hoggard High School was opened and Bobby and Eddie went there. Randy was our leader and influenced our music more toward Motown and soul. He picked “Hold On” to be recorded at Dr. Hubert Johnson’s recording studio around 1967/68. Mockingbird was the studio label. Doc Johnson was a doctor in Wilmington who had a love for music and enjoyed recording as a hobby. He had built a recording studio in a single car size garage on the back of his house at basement level. It had a small control room in it, say 5 by 10 feet, and an old 16 track reel to reel recorder. A local DJ called Jay Howard was the sound engineer and did the mixing on a 16 channel tube type mixer. We recorded the rhythm tracks for “Hold On” in two takes. The vocals were added later. “Lonely Sea” (originally done by the Ventures) was Dr. Johnson’s favourite even though it was on the “B”side. We did several takes because Doc wanted the drums to do a large symbol crash like the waves crashing. I thought it was over the top because the crash was so overpowering, but we did it the way Doc wanted because he wasn’t charging us studio time. Jay Howard was the prime time DJ on WGNI radio station and he played our record all the time. He even used “Lonely Sea” for a lead in to the news.” “We were booked by Jack Ford Theatrical Agency out of Tampa, Florida. In June 1968 we went on tour. My mother has film of the band playing in the Battle of the Bands in Wilmington 1968. The Generation played 30 days in Myrtle Beach, SC at the Bowery, a bar on the boardwalk of Myrtle Beach. We then did Clearwater, Florida where we played at the Bon Ton Club with “Strawberry Alarm Clock” and did other gigs around Tampa. In Florida, we had a disagreement and The Generation broke up in August 1968. When we returned to Wilmington we formed the Fifth Generation with a new drummer (Mickey Watson) and new lead guitar (Stacy Jackson). We were together through the summer of 1969 and were booked by Ted Hall’s Hit Attractions. Eventually Bobby joined the military and I got married. Eddie, Stacy, and Mickey got a new bass player (Bobby Stover) and formed Jamie. I went with the Brass Park in the fall of 1969. We had a reunion of The Generation, Soul Six, and Brass Park October 2010 and played for a High School reunion at Wrightsville beach recently.” Bobby Miller has passed away. Eddie has remained in contact with the other three members. Chuck shared this email from Randy Luther: “Hey, Chuck and Robert! It's been a long, long time. I hope you guys are doing well. I am the world's worst at keeping in touch with people. I have seen Eddie a couple times over the years, but I didn't even know where you guys are. I was saddened to hear that Bobby passed away. Who would have thought that "Hold On" would have reached England in the 70s, much less that someone still has interest in it and the band today. Very cool. I am curious about how many copies have been sold and who released it on a different label. I still have a copy of "Hold On" and the original recording contract we signed with Doc Johnson. I stopped playing professionally in 1978. I have done a few gigs and a couple of recording sessions since, but I got kinda of burned out on the business part of music in general, and especially the New York scene. I played with some great players and bands though. I have a fantastic drum studio in my home now, and I still play a couple of hours a day. My style and technique have developed over the years into something I am very proud of. I even got some great reviews from Rolling Stone magazine when I was with Warner Brothers in New York. These days I mostly stick with blues and R&B. I have fond memories of playing with you guys in The Generation. The music we played was clean, tight and fun.” Copyright E. Mark Windle 2013. References Chuck Shipton. Personal coms. June, August, October 2012. Eddie Miller. Personal coms. July 2012. Emily Marriott. Personal coms. June and August 2012. Sandy Williams. Personal coms. June 2012.

The Delacardos By Mark Windle The Delacardos were an all black vocal and instrumental group from Charlotte NC, who formed initially at high school. They made at least nine records between 1959 and 1967, some of which received national release on major labels. Vocalists were Vernon Hill, Chris Harris, Harold Ford and Robert Gates and later George Morris. Publicity shots generally featured the vocalists only, but regular musicians included Luther Maxwell (tenor saxophone and band leader), Amos Williams (guitar), Ronnie Grier (bass), Dallas Steele (drums), Timothy Donald (baritone saxophone), and on piano and guitar, Jeremiah Shepherd and James Knight. Ronnie Grier wrote most of their sides which appeared on Atlantic. The Delacardos were managed by Will Rhyne, and newspaper reports from the early sixties indicate that they were a popular live act at high schools, rock and roll revues and on the college circuit. The group have long attracted the attention of doo-wop record collectors for their first release in 1959, “Letter to a School Girl” (Elgey 1001) and beach music enthusiasts for “Hold Back the Tears” (United Artists; UA 310), recorded two years later. For northern soul fans, there is their 1966 Q-City / Atlantic release “She’s the One I Love” (45-2368); the original version before Lee Tillman and the Secrets (a Baton Rouge, Louisiana group whose take also had plays on the UK scene). The local Q-City format is a much tougher find than the national release. A further up-tempo Atlantic release from the same year (and possibly the same session) “I Know I’m Not Much” (45-2389) has also been of longstanding interest to soul fans. A previously unlisted demo of The Delacardos’ “Dance Gypsy Dance” (Dimension 1040) has surfaced recently via collector Bob Abrahamian. This quality early Impressions style mid-tempo dancer was written by Vernon Hill and arranged and produced by Gene Redd. Redd came from good musical stock. His father was a sax player, bandleader and A&R man for King Records, who also worked with James Brown between 1956 and 1963. Redd Jnr. was a prolific supervisor and writer and for many soul artists, many of northern interest. In the mid sixties he was part time producer along with George Kerr and George Clinton for the Jobete office in New York. Rumour has it that it was the unwanted Motown product from here which found its way onto the Stephanye label such as Roy Handy, Shirley Scott and The Prophets. Redd went on to set up his on label Red Coach in 1973 which gave us The Carstairs classic “It Really Hurts Me Girl”. This Delacardos number though is of course a much earlier affair, likely November 1964. It appears that “Dance Gypsy Dance” failed to get past the demo stage from currently available information. The Delacardos’ pre-Atlantic recordings were made in the studio garage of Bob Richardson in Charlotte. Bob’s first successful recording as an engineer was on The Delacardos’ 1962 release “On the Beach” on Imperial. Nat Speir and his Rivieras recorded in Bob’s studio when The Delacardos were still there about a year or so later, and knew them well: “To us white teenagers they sounded like the black groups of the late 50s to early 60s. They favoured the early Isley Brothers and sounded that way, but there was originality too. Vocally they were perfect. Their tenor lead Chris Harris had a smooth vocal and the band had a world class fiery tenor sax man, Luther Maxwell. He was my first up-close sax hero. They impressed. I think it might have been Bob Richardson who placed them with Atlantic. The Delacardos had some excellent national releases, not only “She’s the One I Love”. We became good friends early. Both bands recorded a couple of years before this one in Bob Richardson's garage studio and their drummer taught my brother about funky drumming. Luther Maxwell was the best tenor sax player around - a stylist with power and drive. He was a King Curtis type in those days but his tone was lighter. How did some of these minority guys get to be so good so young? I learned that there were two black high schools, both with most excellent legendary band directors. Black sax players received better instruction and encouragement than most whites.” Around this time Bob Richardson was also the Mercury label south east rep. By the mid to late sixties he worked with music publisher Bill Lowery to set up a studio in an old schoolhouse in Atlanta, GA and subsequently engineered a string of hits for Billy Joe Royal, The Swinging Medallions and The Classics IV. This studio was the precursor of the famed Atlanta Mastersound studio which in the seventies and eighties was one of the most technologically advanced facility of its kind, attracting artists such as James Brown and Isaac Hayes. Regarding The Delacardos' Atlantic tracks, Ronnie Grier confirms that “She’s the One I Love” was recorded at Arthur Smith Studios in Charlotte, NC in 1966. The lead singer on this one (and the flip) was George ‘Bubba’ Morris with Odell Grier on guitar and Ronnie Grier on bass guitar. The Q-City release was a Carolina label but credits Phil Walden and Redwal Music for publishing and distribution, as does the Atlantic release for publishing. Redwal Music was the culmination of an earlier extremely successful R&B Walden was a student at Mercer University he had set up his own company to promote Otis Redding (whom he had met a couple of years earlier) and over 40 other R&B acts. Phil and his brother Alan were determined to promote Otis as far as they could. In 1965 on the back of the success of the “Otis Blue” album, they set up Jotis Records, and with that, the Redwal production, a publishing and management arm. The Jotis label itself spawned only four releases by Arthur Conley, and two minor artists Billy Young (an army acquaintance of Phil when he was drafted for two years) and Loretta Williams, a singer who backed Otis on tour. However the activities of Redwal extended beyond Jotis, and they represented a whole host of future stars including Bobby Womack, James Carr, Clarence Carter and Tyrone Davis. Often Otis would produce and work directly with some of these artists. The Waldens already knew The Delacardos from the early sixties, when they promoted the band as a live act at a local club alongside Maurice Williams and the Zodiacs. “In the sixties the members of The Delacardos generally drifted away or went to work or college ” says Nat Speir. “There was a story that their (original) lead singer got hard up for cash and was caught stealing a safe. I think he eventually got an early parole. Don't know what happened to most of the other guys - except for Luther. He got out of show business about 1972 or 1973. By then he was working for Western Electric. Luther took advantage of social and business changes and worked hard and moved up and up in the local office. By the late 1960s he had bought a house on Providence Road, eight to ten miles south of town in white rich folk country. He retired not long ago, a wealthy man. His children went to the best colleges and he lived in what was once an all white south Charlotte neighbourhood. Ronnie kept going musically, making recordings with his daughter at home in his studio, doing early hip hop.” Van Coble of The Tempests reports that most of the musicians, with the exception of Amos Williams and Ronnie Grier, are now deceased. Sadly Luther Maxwell passed away during the preparation of this project. Copyright E. Mark Windle 2013. References Bob Abrahamian. Personal coms. November 2012. Van Coble. Personal coms. August, November 2012. Ronnie Grier. Personal coms. August to November 2012. Ted Hall. Personal coms. October, November 2012. Nat Speir. Personal coms. July, August, November 2012. http://www.gearslutz.com/board/so-much-gear-so-little-time/4000-rip-atlanta-studio-pioneer.html http://swampland.com/articles/view/title:alan_walden

The Tempests By E. Mark Windle The Tempests were a very popular band from around Charlotte NC, which ran from 1963 to the mid seventies, with frequent personnel changes (up to twenty five members in its history). They were an all white line up except for their lead vocalists. The earliest version named The Tempest Band recorded “Love Have Mercy”on Atlantic, with Mike Williams on vocals. At this time they were under the management of female DJ and entrepreneur Hattie Leeper before Williams went solo to record the Vietnam war deep soul classic “Lonely Soldier” again on Atlantic. The Tempests’ lead vocalists during their later period on Smash included Hazel Martin who joined between 1966 and 1968 and then Otis Smith who recorded one single with them. A number of their tracks on 45 received plays or are known to the northern scene, particularly “Would You Believe” (Smash S-2094), “What You Gonna Do” (Smash S-2126) and “Can’t Get You Out Of My Mind” (S-2126). The summer 1968 Smash LP “Would You Believe”, however, is the collector's piece, having been released in mono, stereo and a promo format, and was even given a Dutch release by Philips. Tracks on the LP include “Would You Believe”, “Ain’t No Big Thing”, “Happiness”, “Aint That Enough”, “I Cried For You”, “Someday”, “Can’t Get You Out Of My Mind”, “I Don’t Want To Lose Her”, “What You Gonna Do”, “You Don’t Know Like I Know” and “You (Are The Star I Wish On)”. Whilst albums don’t usually seek particular attention from the northern soul scene, this one certainly does, not only because of the quality of tracks throughout but also because two tracks of major interest (“Someday” and “I Don’t Want To Lose Her”) were not released on 45 format. In 2012 a previously unseen Mercury acetate of “Someday”, was offered for sale on eBay, causing some discussion regarding its authenticity on the rare soul website Soul Source. The acetate now appears to be confirmed as genuine and resides in a UK collection. “Someday”, a moody mid tempo dancer - and at that slightly at odds with most of the other songs on the LP — suited the early eighties northern soul scene perfectly when musical appreciation took a slower tempo approach with a craving for beat ballads and mid tempo dancers. “Someday” was played out in the UK by Guy Hennigan at Stafford Top of the World in 1985, covered up as Bobby Paris. Guy had this confession to make: ”Martin Meyler from Crewe for some strange reason gave it to Keb (rather than me!) to cut an acetate of “Someday” from it. Anyway Keb turns up at my flat in Derby on the Friday night before the Stafford all nighter with the cut and as normal over the next 24 hours we did some swaps and sales. One of the trades involved me getting another cut of The Tempests, which I had said to Keb to cover-up as Bobby Paris, and also to play it that night at Top of the World. However, I was on before him that night (we used to switch around). Not only did I play Keb’s copy of the disc....I played it twice. It went massive that night, just off those two plays. Even though Keb played it later in his spot, I got the credit for breaking it. It was very competitive in that period between DJs, and in particular between Keb and I. But I can justify my sharp trick of stealing Dargie's thunder on that one, with the simple fact that it sounded so much better after I'd introduced it! Ha....you know what, he has never really forgiven me to this day!” “I Don’t Want To Lose Her” was also played out on the northern scene, covered up this time as Cecil Washington. Van Coble, bass player for The Tempests, was located for interview for the book "It's Better to Cry" and talks of the beginnings of the band and the period leading up to their recording contract: “Mark here goes. I'm not much of a story teller. The band was started by two brothers, Mike and Roger Branch, in the very early 60's. Just a mess around band sorta. The backing of Mike Williams, produced by DJ Hattie Leeper at Arthur Smith’s Studio in Charlotte NC, got them started in shooting for a record contract, but they were told they needed to add some better musicians than the ones that played on these recordings. By 1966, the band line-up was Nelson Lemmond (drums), Roger Branch (guitar), Mike Branch (keyboard), me on bass guitar, Tom Brawley (flute & baritone saxophone), Gerald Schrum (tenor saxophone), Rick White (tenor saxophone), Ronnie Smith and Jim Butt (trumpet). At other points in The Tempests’ life, Ray Alexander, Bill McPhearson and Eddie Grimes all played trumpet. Our influences were The Tams, James Brown, Sam and Dave, most Stax stuff, James and Bobby Purify, Muscle Shoals music etc. By the time we got this line-up working good together the sax player Rick White met up with Dave Joy, from York, SC, who had a friend in Falls Church, VA. He was a manager / record producer named Ted Bodnar. Ted liked our music. We needed a lead singer and Roger's Dad, who was a police officer on the Charlotte force, was asked to see if he could locate a singer named Hazel Walker. He came back with Hazel Martin. A true blessing for us." “Things were now solidified with our producer Ted Bodnar. We signed contracts individually and started recording first at Edgebrook Studios in DC and the balance of the recording was done at Arthur Smith Studios in Charlotte. Roger, Mike, Hazel and I wrote most of the songs we recorded, while Jim Butt did the horn arrangements.” Liner notes by Poker Record’s Dave Flynn and David Timperley on the 2007 reissue of the Smash album referred to the label releases and the bands initial recording success: “The next step was landing a major record company deal; enter Smash Records — a subsidiary of the mighty Mercury set-up. With that sort of professional clout behind them, this was the ideal opportunity for The Tempests to make a dent in the charts and potentially hit the big time, aided specifically by the nationwide muscle that Mercury boasted. By this point the band extensively featured Hazel Martin. Hazel - who was their fourth singer - had a powerful and distinctive style that enriched the band perfectly and during August 1967 they made an impact with the up tempo “Would You Believe”. It peaked at number 127 in the US Bubbling Under chart. Smash wanted to build on this momentum so an album of the same name quickly followed. Every track featured the winning combination of Mike Branch’s searing organ work, Hazel’s pleading vocal and some totally awesome brass work; everything blazing full on and powering its way high in the mix. Three more 45s followed on the Smash imprint during 1967 and 1968 (MW: “What You Gonna Do”, “Out of My Life” and “In the Cold Light of Day”). Throughout this exciting period, the band performed with many other bands including The Four Tops and The Tams.” Van Coble continued the story for me: “During this time we were booking through Hit Attractions’ Harvey Grasty. We played fraternity row parties from Mississippi to Delaware, local clubs like The Cellar, big show and dances at Charlotte's Park Center and the Coliseum, plus USO Shows; we stayed quite busy. In all our travels in the south and southeast we never encountered any racial problems because we were an integrated band, either at motels or restaurants. Go figure, but its true. We were treated well by all. During this time we played so many shows with The Tams we became good friends with Joe Pope, Sleepy, Horace and the guys, shared many a drink with them; they preferred brandy if memory serves me right! The bookings with The Tams were called The Tams and The Temps. The radio stations that broke “Would You Believe” were Big Ways Top Forty Charlotte Station, others from Mississippi and all along the eastern seaboard including WABC in New York City. Our first two 45s were well received on the eastern seaboard and down south but we just couldn't get airplay on the west coast. I guess weak promo guys couldn't get it done. I never saw any numbers on the LP sales, I know I bought some in a department store in Florida for $1.99 each in the early 70s. That's why Nelson Lemmond and myself were really pleased when we found out about Northern Soul, that's great!” “After the release of “Would You Believe” we signed with the Premier Talent Agency out of New York City for concert and package shows. They ran us ragged. We played so many shows we out ran our money, things were tight, living on cheeseburgers and washing socks and underwear in the bathtub where we were staying. This really took its toll on us. We just wanted to get back down south or home where we could be with our families and go back to like it was before, working a day job and playing locally in the Carolinas. This is what finally tore the recording group apart. Mike and Roger kept trying to keep the band going by adding new guys and cutting back to a four piece band with a girl singer called Nan Mason. Hazel and I (who had previously co-written “I Don't Want To Lose Her” and “Whatcha Gonna Do” on the LP) joined to create Marco Records for one recording, “Southern Ocean Sunshine” backed with “Out of My Life”. As you’ll guess the ‘Mar’ stood for Martin and the ‘Co’ for Coble (MW: Nat Speir of the Rivieras, and a childhood friend of Van’s, did the horn arrangements for the project. Hazel Martin later went on to play with The Spontanes for eight month period in 1972). Hazel passed away in 2008.” The Tempests continued to play until they broke up in 1975. Mike continued to contribute to beach scene via Surfside records in 1979 with ex-Showmen / Chairmen of the Board lead singer General Johnson. Mike has since passed away. Roger moved to New Orleans and became a producer and engineer at Sea-Saint studios. He now owns Oak Street Recording Studio in New Orleans. Gerald Schrum died around 2010. Roy Alexander later became arranger of the Motown horn section. Van continued his career in music: “After The Tempests I stayed involved in music, teamed up with Nelson Lemmond, Nat Speir and produced several artist for various record labels (no hits though) including Lee Webber on Excello, Sandlewood Candle on 440 plus (a subsiduary of Monument records) and Vann (me) on Mother Cleo Records. During this time I went back to school and got a degree in electronics. I went to work for the largest electronics supply company and sound contractor in the south east. I went from being a service technician to sales manager over the sound and communications division, starting a life long endeavour of over forty years in this business. All this time staying active in music, playing gigs on weekends, putting together my own home studio. I am still recording and producing in my studio. My most financially successful project Nelson, Nat and myself did was for R. J. Reynolds Co. “A Blues Album”. We recorded this at Sea-Saint Studios in New Orleans with Allen Tousaint and Marshall Sehorn, Man, it was a blast.” “We were just a bunch of Good Ol’ Boys that almost made it in music. Thanks for playing our music, it does an old heart good to hear that some where in the world somebody's listening and dancing to the The Tempests.” The Tempests were inducted into the CAMMY Beach Music Hall of Fame in 1996. Nat Spier (Rivieras), Van Coble (Tempests) and the author. North Carolina 2013. Copyright E. Mark Windle 2013 "It's Better to Cry" by E. Mark Windle available at Blurb.co.uk or for overseas Blurb.com. Go to the Blurb online bookstore. References Van Coble. Personal coms. August to October 2012. Guy Hennigan. Personal coms. June 2012. Roger Branch. Personal coms. June 2012. Lu Rojas. Personal coms. June 2012. Dave Flynn. Personal coms. May 2012. Author permission obtained to use sleeve notes from Poker CD reissue of ‘Would you believe’ (Deck CD 100; 2007). David Timperley. Personal coms. June 2012. Cherry Red Records. Company permission obtained to use sleeve notes from Poker CD reissue of ‘Would you believe’ (Deckcd 100; 2007).

THE PASSIONS By E. Mark Windle One of the most popular and rarest 1960s girl group 45 discoveries with northern soul appeal is without a doubt The Passions for their “If You See My Baby” (Elvitrue & Satelite 177). What was known before this piece of detective work commenced was that Elvitrue was an independent record label out of 1108 (1-2) South 7th Street, Wilmington NC. Set up in 1959, it was owned by John Lewis Jones and possibly James Wheeler. It had a most sporadic recording history with around ten releases, with the label closing in 1976. The repertoire included pop, soul, gospel, country and funk. Elvitrue essentially seems to have been a vanity outlet, with its random artist discography and association with the Rite custom pressing plant in Ohio. Whilst “If You See My Baby” is likely the most popular on the northern scene, The Passions also delivered “Hello College Boy” (Elvitrue A27916), another competent girl group sound. Both 45s are elusive, with “If You See My Baby” commanding a four figure value at the time of writing. A third release on Cylyn, “What Am I to Do” (CY-0002) preceded these recordings, and to date remains relatively unknown even on the rare soul scene. Other groups with the same name which appeared on other labels during the same decade are unrelated. Early attempts by the author to track down the members of The Passions and individuals associated with their recordings were thwarted by the red herring of the North Carolina location of Elvitrue. Credits on “Hello College Boy” had listed E. J. Chaplin from “Camp Lejeune, NC” as the songwriter. Camp Lejeune US marine base, Jacksonville was built in 1942, occupying approximately 14 miles of North Carolina coastline near Wilmington; tying in with the Elvitrue label address. The girls singing on this danceable mid sixties black girl group sound, leaning toward soul rather than pop, were clearly young teenagers at the time. This raised the possibility of them being students at Camp Lejeune High School, perhaps as children of military personnel. Available knowledge indicated that the girls’ names included Pat Lawless, Connie Bailey and Carol Paul. However, high school files and yearbooks failed to identify them as past students. A similar check was made on E.J. Chaplin. The school archivist had no recollection of this individual, either as a student or teacher. Even the 2nd Marine division of the US Marine Corps were contacted in the knowledge that this outfit was the band division at Camp Lejeune at the time, and therefore the songwriter may have had some connection, as a marine. No easily accessible archive existed. One other song was known to be written in 1969 (likely two years after “Hello College Boy”) by an E.J. Chaplin for Cowtown, a Texas country label, which indirectly steered the investigation in another geographical direction. As it turned out, The Passions had a lot more to do with Louisiana than the eastern seaboard. A further on-line search eventually located Carol Dean Paul (now Vaughan) via her daughter Denitrea Vaughan; and Constance “Connie” Bailey, now residing in Texas. Carol and Connie confirmed the group were from the Baton Rogue area of south west Louisiana and were school friends. “The Passions were formed in 1967 after performing at a talent show at Baton Rouge High. We were about fifteen years of age. The original members were Dianne Williams (now Hamilton), Pat Lawless and me. I knew Carol, who joined the group later, from Jr. High” reveals Connie Bailey. “Musical influences included Gladys Knight and the Pips, and The Supremes. We sang at local events like the Miss Baton Rouge Pageant and social club functions and even appeared on Baton Rouge’s version of Bandstand. Ronnie Shaab was our initial manager. He owned a record store in downtown Baton Rouge.” Ron would arrange various live gigs for The Passions, including an appearance as the main guest attraction at the Blue Revue, a local talent show held at the Lincoln Theatre. Ron Shaab would later made his mark in the late sixties and seventies as producer and songwriter for Stone Records and some collectable funk recordings. Before all this however, he brought The Passions to record a session in Montelbano brothers’ studio in downtown Baton Rouge. The result was “What Am I to Do” featuring Dianne on lead vocal, backed with “Time is a Natural” with Connie on lead for the flip. This 45 has only really surfaced in recent years, and until now rare soul collectors did not necessarily link it with the ‘Elvitrue’ Passions. “What Am I to Do” is a superb example of female mid sixties, mid-tempo / beat ballad and still remains virtually unknown by most soul collectors in the UK, US and Europe. Pressing run numbers are unknown. Connie remembers hearing it on the radio but not any sales, although both DJ copies and issues are known to exist. The Cylyn label was formed by Cyril Vetter, drummer, and Lynn Ourso, guitarist, with the support of studio owner Sam Montel in 1963, initially to put out to release what was effectively the result of a jam session by the Montel studio band - the inaugural label release “Warm Daddy’s Choice”. Throughout the sixties Vetter and Ourso continued to work both for their respective bands, the Greek Fountains and John Fred and the Playboys, as well as session for other artists at the Montel studio along the Mississippi River front in Baton Rouge. Vetter was probably best known for co-writing “Double Shot of My Baby's Love”, a later hit for The Swinging Medallions. Cyril Vetter and his band, or some combination of his and Lynn’s band, backed the girls on The Passions’ Cylyn release at the studio. Andrew Bernard, baritone sax with John Fred and the Playboys, arranged and played on both sides. “The studio (later known as Deep South Recording) was owned by the Montelbano brothers. It was located in a portion of a produce warehouse in a building at the foot of the Mississippi River levee in Baton Rouge” remembers Cyril. “Sam Montel was the music entrepreneur. Micky was the more serious older brother who ran the produce business called the Fruit Exchange. There were always fruit trucks around and produce on the loading docks. Being that near the levee the studio always felt a little damp with the river so close and the low temp required to preserve the fruits and vegetables. A train track ran just behind the building so there was always a train whistle and rumble and a ship or tug fog horn adding to the kind of mystical feeling of the place. It wasn't a hit factory but it was a fun place to record especially at night when the fog rolled in and the smell of the river was very pronounced! I produced “What Am I to Do” on The Passions and wrote the flip "Time is a Natural" with my dear friend Don Smith. We also wrote "Double Shot of My Baby's Love" together, something of a beach music evergreen. Unfortunately, Don Smith was later killed in a small plane crash. He was a civil engineer by day and he died on the way to a job in the oil patch. But as to Cylyn itself, Lynn Ourso and I started that label to release the recordings we produced at the Montel studio. I was writing and producing at every opportunity. I loved being in the studio and could work non-stop as a 20-something! I eventually got drafted during the Vietnam War. When I got out of the army I went to Law School then ended up in the broadcasting business. I did a little music from my broadcasting company's offices and released four LP's on my label called The Record Company of the South. John Fred of John Fred and the Playboys was the label's general manager.” After the Cylyn recording, the girls changed manager. Dianne dropped out of the group, eventually to be married. “Hello College Boy” was released on Elvitrue in 1967 or early 1968, and featured at least Connie and Pat on vocals. Denitrea Vaughan reported that whilst her mother Carol was not present on the “Hello College Boy” recording, she did appear on “If You See My Baby”. The session for “If You See My Baby” took place at a studio in Lafayette (a 45 minute drive from Baton Rouge), owned by the Rachou family. La Louisianne Recording Studio, located at 2823 Johnstone Street, Lafayette, is currently run by David Rachou. In the mid 1950s his father Carol Rachou had originally created a studio at the back of his stereo and record store, initially as a hobby. When his parents sold up their nearby grocery business, Carol moved premises and converted their store into what is now known as the La Louisianne Studio. Initially starting out with a single Telefunken microphone and an Ampex one track recorder, he built a small empire largely on Cajun, swamp pop and Zydeco recordings. A number of R&B tracks were also laid down here in the 1960s for the studio’s own label, La Louisianne Records - most notably for rare soul collectors, the Camille ‘Lil’ Bob (a.k.a. Little Bob and the Lollipops) 45s and LP releases. Rachou also provided a service for third party recordings; including the Elvitrue releases. In the 1980s Carol handed the business over to his son, and the studio continues to run to this day. UK based rare soul collector Andy Rix had successfully made contact with James Easterling, co-writer of The Passions’ second Elvitrue 45 “If You See My Baby”, along with Lawrence Rodriquez (a.k.a. Buck Rogers). Jim and Buck were essentially country songwriters, who had links with the Jack Clement and Bill Hall publishing company. Clement was one of the major country figures throughout the 1960s who had a number of highly successful country songs recorded by national artists such as Johnny Cash, Ray Charles, Carl Perkins, Elvis Presley, Jim Reeves and Jerry Lee Lewis. However Easterling and Rodriquez worked on this song very much with an R&B flavour, belying their country roots. An individual by the name of Melvin Dodge was the contact between the writers and the Elvitrue label for “If You See My Baby”. Obituary data and an archived 1963 Blues Appreciation Society newsletter suggests that Dodge was originally from Natchez, Adams County, Mississippi. By the early 1960s he started getting interested in the record business. At least one record on Global (a Natchez label) was released: Sonny Hodges “Flame”, a slow teen Elvis attempt, in 1961. The family then appear to have moved to Ferriday, Louisiana; at least this is the location of two further labels set up by Dodge. An early sounding and uncharacteristic novelty instrumental by Texan blues piano player and songwriter Big Walter Price and his Thunderbirds was released in 1961 on Myrl (the name of Melvin’s wife). The Sonny Hodges 45 was released again, on Myrl. ‘Dodge’ was a second label which carried another instrumental, this time an early R&B instrumental called “Shimmy Shimmy Walk” by The Megatons. This was released the same year. Jim Easterling relayed the story to Andy Rix where Dodge simply decided he wanted to make a record, so he went to Nashville and was given “Shimmy Shimmy Walk”. The Megatons featured at least some of Bill Black’s band and they recorded the track at Pepper Tanner studio in Memphis, 1961. Dodge took the song to Louisiana to press the record, and then to Hollywood to find a DJ to promote it. That record went to the top ten national charts. Leonard Chess in Chicago called Dodge to buy the master. Dodge sold it to him for $10,000 (the record appearing on Checker the following year). Ultimately this record became a signature tune for a number of radio jocks throughout the US. Dodge went on to make some more records in Houston, Texas. In 1968 Melvin Dodge asked Jim and the other writers / session players to go to the Lafayette studio to work with The Passions on “If You See My Baby”. Jim remembered Pat Lawless as being the lead singer and she is credited first on the label, though Connie Bailey reported she was lead, also confirmed by Carol. Jim didn’t see the group again after recording the tracks. The writers, session musicians and the girls never met the Elvitrue label owners. Melvin Dodge was the sole contact. Connie confirms that they signed with Dodge for the session but that was about their involvement with him other than the provision of transportation to and from the recordings. “Both Elvitrue records were considered demos” says Connie. “Only about 25 to 50 were pressed. None were ever sold. We were played on the local radio station but our greatest reward came from the excitement of it all. We signed some kind of contract; our parents were sued by Elvitrue when we didn't pay for the demos. They ignored it and nothing ever came of it. That was it. I went to college after high school and Pat moved to out to New Orleans.” No further recordings other than those which appeared on the Cylyn and Elvitrue / Elvitrue & Satelite 45s were made by the girls, and no unissued recordings exist. Why the tracks were pressed on a North Carolina label, remains a mystery. Some connection with Melvin Dodge, and label president John Lewis Jones perhaps, but the secret has probably been buried with Dodge. “After The Passions, I sang with Johnnie Jackson and the Blazers, until I graduated from Southern University in 1972” says Connie. Johnnie Jackson and the Blazers are best known on the rare soul scene for their driving R&B number “What You Gonna Do” (J-Mer 101) featuring Merle Spears. Connie later remained involved in church and community choirs, and worked in Government as a business analyst until her retirement in 2010. Carol Paul completed her Bachelor of Arts & Science at Southern University of Louisiana in Baton Rouge where she majored in music. She sang in the choir at Southern. After a move to Los Angeles, she became an accountant then opened a successful day care business, eventually moving to Dallas. Sadly, Carol Paul, Pat Lawless and Buck Rogers passed away during the preparation of this chapter. Carol’s daughter Denitrea remembers: “Throughout the majority of my life my mother always sang in the church choir. She was a soloist in the church. We did a mother/daughter concert together at our small Baptist church and sang in a community choir. I don't believe she was in any other groups but she always talked about her time with The Passions with such pride. "We were like the Supremes" she would say.” This and fifteen other southern soul biographies appear in "RHYTHM MESSAGE", a new book by E. Mark Windle. Available at Blurb.co.uk or Blurb.com. Order details from http://www.blurb.co.uk/b/5936116-rhythm-message Resources, notes and references Andy Rix (including communications with Jim Easterling). Personal coms. October 2013. Constance Bailey. Personal coms. November, December 2013; January 2014. Dianne Williams (via Connie Bailey). Personal coms. November 2013. Dr. Denitrea Vaughan (contact for Carol Vaughan). Personal coms. October 2013 to March 2014. Cyril E. Vetter. Personal coms. December 2013. Nick Cobban. Personal coms. October 2013. Blues Unlimited (fanzine, 1963) Available at http://www.wirz.de/music/mags/grafik/bu0014.pdf Martha Harville Information Specialist, National Honor Society Adviser, Lejeune High School, Camp Lejeune, North Carolina. Personal coms. October 2013. SSgt. Christopher M. Dwyer, United States 2nd Marine Division, United States Marine Corps, Camp Lejeune, North Carolina. Personal coms. October 2013. AS-PMA (Cowtown) discography. Available at http://www.songpoemmusic.com/labels/cowtown.htm Nick Cobban. The Vinyl Word (blog). Available at http://thevinylword.blogspot.co.uk/2010_05_01_archive.html Website: http://www.natchezdemocrat.com/2010/03/04/henry-dodge/ Website: http://www.findagrave.com/cgi-bin/fg.cgi?page=gr&GRid=83114986 Website: http://en.wikipedia.org/wiki/Jack_Clement Website: http://www.besonic.com/News/g0r0l0t3o0i1500s1/article.html La Louisianne Recording Studios. Available at http://www.lalouisiannerecords.com/studio.htm Label scans from the collections of E. Mark Windle and Andy Rix Photograph of the Passions courtesy of Dr. Denitrea Vaughan

Rhythm Message is a new book by E. Mark Windle presenting a collection of biographies of lesser known southern recording artists from the 1960s of particular interest to the northern soul scene. It is the second of two books on the subject. The first book in this series, , It’s Better to Cry, focused on 1960s R&B artists, beach bands and soul-influenced garage bands specifically from the Carolinas and Virginia. I wanted to present acts which hold particular interest with rare soul record collectors throughout the UK and Europe, rather than the classic beach music of the day. Rhythm Message continues to take on regional bands of the day in the south eastern states such as Lost Soul, the In-Men Ltd., Gene and the Team Beats, Bob Marshall and the Crystals, Bernard Smith and the Jokers Wild, Mike Williams; extra-regional names like The Astors whose recordings appeal to beach music listeners; and others who moved their business around various states (such as The Showmen, originally from Virginia, but recording in New Orleans, Philadelphia and North Carolina), but whose popularity remained rooted on the eastern seaboard. The scarcity of many of these recordings did not necessarily reflect poor quality music — in this area particularly, artists were performers first and foremost, working theatres, night clubs, beach pavilions, sock hops, frat parties and college campus events; and recording artists second. Often local acts would provide opening sets or in the case of bands, would back visiting nationally known solo artists. R&B recordings on regional labels particularly in this neck of the woods were often low pressing runs on self-financed custom labels, facilitated by the band themselves or young promoters with limited budgets. However, the geographical remit has also been broadened for Rhythm Message, with Louisiana, Tennessee and Texas added to the list. Biographies from these areas include those of the ‘Elvitrue’ Passions, Troy Marrs and the Dynamics, TSU Toronadoes, Lee Tillman, the Cheques, Merle Spears, Sam and Bill and more. Most of these artists’ histories are documented for the first time. As well as the author’s own investigations, chapters are also provided by US and UK guest writers. The project has made possible only with the help of numerous artists, relatives, session musicians and label owners in the US; and of DJs and collectors from the rare soul scenes in the UK and Europe. The chapters in this 224 page book is illustrated by more than 100 images including label scans, personal and promotional artist photographs, posters and other memorabilia. Available in softback (colour) and PDF format. Visit the Facebook page https://www.facebook.com/rhythmmessage to follow discussion of the artists and music featured. Visit Blurb.co.uk or Blurb.com for details on prices, ordering and 15 page preview. To order go to: http://www.blurb.co.uk/b/5936116-rhythm-message (Available from 26 January 2015).

Cynthia Harrell, the daughter of Leslie Felton (baritone), one of the original 1960's Showmen, has just informed me he passed away 16 December. I was about to interview him for my book "Rhythm Message". It wasn't to be sadly, but she said it meant a lot to him to know that he had been recognised over here. If ever If there ever was a group to connect the beach music and the northern scene together, well they were simply it. RIP Leslie. added by site memorial link http://www.beachfuneralservices.com/sitemaker/js/highslide/graphics/memsol.cgi?page=documents&user_id=1482003&MAIN_EVENT=MEMSOL&SUB_EVENT=VIEW_GUESTBOOK