Roburt

A link to info on his passing ........... https://sandrarose.com/2013/07/r-i-p-charles-pope/

Anyone here got copies of rare old soul show posters. In our first house (after I married), I made the mistake of pasting up some posters from the Mojo Club (Sheffield) that I had 'liberated' at a few of the club's final live act shows back in the 60's. I put them up inside a built-in wardrobe in our bedroom but of course, when we sold the house, I had to leave the posters behind. In addition to UK club posters, there are also 100's of great US soul show posters, many printed up by the likes of Globe Posters in Baltimore back then. Venues would commission such posters but many times the acts themselves would have 'standard' posters made up, justleaving the actual venue details off. When they were to it a town for a live show, these posters (with the venue / date details hand writtenin, would be fly-posted around the area. Then, when the psychedelic era kicked in, loads of arty looking posters were produced, some being for soul acts such as Sly & the Family Stone & the Parliaments. So anyone got paper or electronic copies of really interesting soul act posters from back in the day? I'll post one up for a show that never actually took place ..... on December 9th 1967 Otis Redding was in Cleveland for a live show and a TV appearance ........... see here .......... https://rockhall.com/blog/post/7045_otis-reddings-last-day-in-Cleveland/ Late that night, Otis & some members of his band boarded a plane to head for their next engagement at the Factory Club in Madison. They never made it as the plane came down in a lake near their destination. The posters for that show had been produced & hung around town though.

This bio on the group that is up on the net states that the Highlighters first recording was "" in 1969 .......... Formed at Indianapolis' Crispus Attucks High School in 1963, the original lineup of saxophonist Cliff Palmer, trumpeter Clifford Ratliff, organist Richard "Boola" Ball, bassist Richard Corbin, and drummer James "Porkchop" Edwards drew their initial inspiration from modern jazz, but quickly evolved into an R&B outfit. Managed by Herb Miller, owner of the Indianapolis record store Good Vibrations, the group regularly shared bills with local girl group the Tri-Dells, but just as their career began taking off, military duties forced the Highlighters to go on hiatus in 1966. Upon returning stateside in mid-1968, only Palmer and Ball expressed an interest in reuniting the group, so guitarist James Brantley, bassist James Boone, and drummer Dewayne Garvin (a former military drummer whose uniquely syncopated style proved essential to the band's distinctive approach) were recruited to form a revamped roster. While visiting a local hotel lounge, Brantley chanced upon vocalist James Bell, and with his addition the classic Highlighters lineup was complete. In the spring of 1969, WTLC DJ Paul Major issued the band's debut single, "Poppin' Popcorn" on his Rojam label That would mean that they definitely didn't cut "Chittlin Pot" in 1966/67. The Indianapolis outfit weren't playing together in 1966 & 1967 anyway.

The above track is up on the last.fm site ...... there it says ....... When the Highlighters first started playing together in the early ’60s, they didn’t have James Bell on vocals or Dewayne Garvin on drums. They were just another jazz group gigging in the back room after band practice at Crispus Attucks High School. It wasn’t long before the group decided to call themselves the Highlighters. “Our name came about because Clifford Ratliff had a couple of older brothers. They used to go out and party and in those days they used to call it highlighting,” says saxophonist Clifford Palmer Jr. Those Highlighters were from Indianapolis which is almost 600 miles from Baltimore. So I still doubt that it was James Wells' Highlighters that did those gigs at the Zebra Room in summer 1967. But stranger things have happened.

More vintage Melba .............. she had a TV show (with Clifton Davis) back in 1972 .......... http://www.youtube.com/watch?v=UZzKklSAQHo Clifton wrote songs for Motown and he also wrote 2 songs she cut for her 1971 Mercury album (the likes of Jimmy Wisner, Bert DeCoteaux & Tom Bell worked with her on that project).

Melba (along with La La Brooks of the Crystals) singing together on this clip from the 1969 version of Hair .......... ......... Melba & La La are dueting "What a Piece of Work Man Is" ....... check it out at 4 mins 25 secs for a close-up shot) .... http://www.youtube.com/watch?v=eGx7IBn7HCM

Nita looks after that side of things for me, I'm so far gone these days, I can't even remember where I live.

I also made a few Bob at The Torch Etc, although I was always skint again by Monday totally wired, but still skint !. Kegsy So what's new Kegsy, same ol same ol for you then Still the same today I guess (don't actually know as you didn't make it along to Cleggy this year). Trust you're keepin well these days. Myself, I'm finding life tuff, just back off a week long cruise up to the Fiords of Norway (that Slartibartfast certainly did a good job). Next up, we have to slog it down to Sandbanks to stop with that there Mr. Temple).

The stock from Bostocks found its way into 'outlets' all over Yorkshire back then. I recall finding 45's that had obviously come from their warehouse in shops in Dony, Sheffield, Leeds, York, Hull & the like. Their biggest customer in Hull seemed to be the Boyes discount shop chain that had 5/6 stores in Hull plus shops in other York's towns as well. I got loads of good soul import 45's from Boyes stores in the mid 70's ... ..... THE DAFT THING WAS ....... I never knew of Boyes ever selling 45's, apart from the stuff they sourced from Bostocks back in the 70's. I believe the likes of Kegsy & Swish were also regular visitors to Bostocks and sourced lots of 'their finds' from the place.

We all know the work of the Highlighters band that backed up James Wells (Rojam Records, etc.). But what is known about the group who had "Chittlin Pot" out on a strange indie label (RI ?) that gave no clues as to its origin or date of operations. The 45 has the look of a vanity label operation, probably run by the band themselves. If you don't know it, this is the group's track ......& it's quite a funky little instrumental cut ...... https://www.youtube.com/watch?v=d9_cnt4R0aI I believe the 45 is a rare item, probably given away / sold by the group themselves at gigs back in the day. It was included on the Funkaphonix Vol.5 comp CD .... https://www.amazon.com/Vol-5-Funkaphonix-Funkaphonix/dp/B000071JUA I have done some diggin and my inquiries lead me to believe that the band were from the Baltimore area. The 'Baltimore Sounds' book lists 3 outfits that utilised the name. One was active in the early 60's (Reginald Kelly & His Highlighters) while the other two (just 'the Highlighters') are detailed as performing in 1969 and in the 70's respectively. The problem with this is that I have a club ad for a gig they did (at the Zebra Room, Baltimore) in summer 1967. That ad makes reference to their 45 track, so I'd say the single escaped in 1966 or early to mid 67. Those dates do not fit in with the group's who used the name that are listed in 'Baltimore Sounds'. Anyone know much of anything about the band ??

Just one for me & it has always left me feeling uplifted ......... words by CM (naturally) music by CM (of course) sung by CM (had to be) "Move On Up" by Curtis M

Another time when Jackie & Linda were performing together ........ info off the net ......... Seems that after Georgie Woods became the vice president of the Philadelphia branch of the NAACP, he used his talents as a concert promoter to help raise money for the organisation. Woods held his 1st fund-raising concert at the Uptown Theatre in Philly on May 14, 1963. Singers Jackie Wilson and Linda Hopkins, comedian Bill Cosby, and other acts performed to a sold-out crowd of two thousand people. So it seems they were out playing gigs to promote their recordings as a pairing a couple of months before the actual records were released.

Faye Adams had a big (No.1) hit with "Shake A Hand" way back in the summer of 1953 (it was included on one of the EMI 'Bell Cellarful of Soul' LP compilations back in the 60's which is how I first got to hear the song). Anyway, the song was re-visited on vinyl a number of times (Little Richard, LaVern Baker, Magic Sam, Freddie Scott, Elvis, Paul McCartney!!). In 1963, Jackie Wilson & Linda Hopkins cut it as a duet and took the song back into the US R&B singles charts (it peaked @ No.21 after entering the chart in mid July) & Pop charts (reaching No.42). The track also appeared on an album featuring them on duets (I believe the LP came first & the 45 was lifted from it). Eddie Singleton produced the cuts in New York. https://www.youtube.com/watch?v=cS3JDEEqNHU I know that Jackie & Linda did shows on a number of touring bill around that time (1961/62/63) and think that they toured together, became close friends and then some time later proposed that they cut some duets together. Linda was signed to Brunswick by 1961, so there was no reason for her not to team up with Jackie in the studio. Prior to the album, back in early 1962, the pair had done their first tracks together. Exactly how many were cut then I don't know but two were put out on a Brunswick 45 in March 62. https://www.youtube.com/watch?v=xg_6zWII9i0 A 2nd 45 featuring tracks off the album was released but not until 1965 (just before a 45 featuring Jackie with LaVern Baker was put out). Anyone here know more about how they got to team up to record together ?? I know Jackie & Linda were already friends as she was on the first national tour that Jackie ever undertook (Sam Cooke topping the bill). They (Jackie & Linda) had done a show together in New York the night (15th February 1961) that Jackie was shot by a jealous lover. Jackie had just completed another US tour with Sam Cooke the week before Sam was shot dead on December 11th, 1964 and Linda was available to try to help Jackie come to terms with the loss of his close friend. So the pair obviously got on personally, but that can't be the only reason they teamed up on vinyl.

This group had a popular 45 put out on Success in 1963 -- "Come On Home" .......... https://www.youtube.com/watch?v=e9z0_9aImLs Is much known about them at all ? I note that the record label was based out of Des Moines, Iowa. There was also a Blendtones who had a doo-woppy ballad ("Lovers") out on Zanzibar. There had been a doo-wop group out of the Pittsburgh / Baltimore area a couple of years earlier who went by the name of the Blentones / Blen Tones who for a while also had a record deal (MGM). I guess they were an entirely separate outfit. Earlier in the 50's, that had been a group of the same name that played gigs in Windsor, Ontario (Canada).

I'm sure Numero ensure none of their 45 releases look exactly like the originals. However, if you aren't looking for the slight differences and haven't realised that a particular 45 has been reissued, then I'm sure you can be fooled by the new version.

Al bell had contacts all over the US, many resulting from his days as a radio DJ. When he was with WUST in DC he ran (along with Eddie Floyd) his own (pre-Stax) record label (Safice). When Al was on WUST, he championed the local releases by DC based Ruby Johnson on NEBS. Guess what, after he relocated to Memphis and took over the running of Stax, who would he sign to a recording contract ......... YEP, Ruby Johnson. BTW, WUST and WOOK in DC were big rivals for the local black listening audience. Both claimed to play the best soul tracks and you can check out a typical WOOK show from 1966 here .... https://stepfatherofsoul.blogspot.co.uk/2008/01/soul-on-air-4-johnny-lloyd-1966.html The clip features loads of good records, some jingles and ads for live shows at Carr's Beach and record sales ..... ... @ Waxy Maxie's if you bought 5 x 45's you would be given 5 free singles from the 30,000 set aside for the purpose; wonder if that offer still applies?

Just had it confirmed that this Pastor is the singer who cut for Hi-Q back in the day. He lives in Sandusky, Ohio & by all accounts his health is fading these days.

Good to learn that Oliver Cheatham is getting back to sing with Jocelyn plus returning to Scotland. I spent a weekend with him up there in the mid 80's (a dinner in Edinburgh and then a club gig in Kirkcaldy). He's a very pleasant (& interesting) guy to spend time with. Now living in France (or was last I heard), Oliver was a force on the Detroit music scene back in the day (Young Sirs, Gaslight, Mad Dog & the Pups, Roundtrip, Oliver). He was close friends with Al Perkins & more in the Motor city.

Jessie's 45 in it's Ru-Jac form ............. https://www.youtube.com/watch?v=y5s7b2F7CCA

Jessie was probably performing with the Kay Keys Band on this Carr's Beach show in May 63 ......... The Strands were also locally based. A Philly doo-wop group on the bill ........... https://www.youtube.com/watch?v=8wHQYDfk3nc

No doubt Jesse Crawford got to perform at Carr's Beach himself as the booking agency for the venue up to around 1965 was Ace Booking of Baltimore. Of course, Ace Booking was run by Rufus Mitchell, who also ran Ru-Jac Records. Many acts signed to Ru-Jac (& other local Baltimore artists) got to play support on the Carr's Beach shows, though many were last minute adds to the bill and so didn't get name checks on the ads for the gigs. A radio ad for shows held at Carr's Beach ............ https://www.youtube.com/watch?v=wZ4vJRt_9iI They obviously didn't have a photo of Tammi Terrell at the time the ad was placed !!!!

I knew he had connections to Baltimore but didn't think to look at the Ru-Jac discography. I guess this was the only Ru-Jac 45 to be picked up by Symbol. Here's the ad for his show in October 63. Locally based Jay Wiggins was also on the bill, as was Lou Johnson. MC on the show was Sparky Mullens who owned / ran the Spar & Zennette record labels. Sparky probably organised the show & got the artists to perform for expenses (as he was playing their tracks on his WSID radio shows at the time). I have Baltimore club / Carr's Beach ads for the Kay Keys Band (who backed Jesse up on his cuts) as well somewhere.

My info is that though Conlo was nationally distributed by Cameo/Parkway, the label's sides were mainly cut in Chicago. Other 45's on the label came from Jamo Thomas and Arlene Bailey. I believe that the guys who made up the Shells (Charles & James Calvin, Billy Harper & Willie Exon) all had St Louis connections. I think the Arlene Bailey tracks were 'outside productions' most likely done in New York. By 1978, there was an Arlene Bailey singing in supper clubs up in Bangor, Maine. I guess this was the same lady as she seems to have cut an album in Boston around 9 years later for AGB Records (Arlene George Bailey). https://www.youtube.com/watch?v=rCv7ggqIxbg https://www.youtube.com/watch?v=lglWTVXaeFo https://www.youtube.com/watch?v=rUKm65Yh9aA No doubt, Boba will give us the Shells full sp.

Is much known about the Jesse Crawford who had a 45 out on Symbol in 1963 .......... Symbol #925 - Jesse Crawford -- "I Love You So / Please Don't Go" I know he got to tour a bit on the back of that 45, one such show he did taking place at the Coliseum in Baltimore on October 19th 1963.

The group's Al McKay worked with a number of artists both prior to joining EWF (Brenton Wood, Watts 103rd St Band) and after (Ren Woods, Deniece Williams). https://www.youtube.com/watch?v=F3Ufg2MB1lA https://www.youtube.com/watch?v=bwAXaeSRsnA Other guys out of the group also worked with other acts in the studio.