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Roburt

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Everything posted by Roburt

  1. ...... Would it be this one Ady ?? .. https://www.midwest45s.org/MichiganGaragePage.html
  2. ...... RE: delivery put back by Amazon again ....... ...YEP, I got an e-mail from Amazon as well ... delivery not till after 21st June now ... .......come on,I've been a good boy ...... I deserve my CD asap !!!!!
  3. RIP Lou, another good one lost. I interviewed him at Prestatyn & asked what inspired "I'm Com'un Home In The Morn'un". He said it came about after a call home to his then girlfriend; she was missing him so he told her what she wanted to hear (the song title) .......... he got off the phone & wrote the lyrics out almost straight away. So I asked the obvious .... So did you head home in the morning ?? He broke down in fits of laughter and told us that he never went home to her at all.
  4. Herb wasn't actually on too many of the recordings that the Platters made during their spell with Musicor. The group were touring across the States all the time back in the mid to late 60's ... ... so Sonny Turner would fly back alone to New York; team up with some studio session singers, cut 4/ 5 tracks in one session (overnight -- most of the time to pre-recorded backing tracks). Next morning he would be on another plane and flying back to join the other members of the group who by then had moved onto their next engagement & were set up ready for him to undertake lead vocal duties with the others.
  5. Those nasty record company guys have taken the video of Stevie singing this down ... .... so we have to make do with this 'foreign' version (it beats the Lime IMO)... https://www.youtube.com/watch?v=SKOiFh1QmqI When you think of music from the Motor City, Oslo probably isn't the first place that springs to mind. But fans of Norwegian singer Wenche Myhre must have been dancing in the streets when they first heard this little corker. Issued in 1967, the song proved a hit for the singer in her homeland. By that time, she had also become one of a host of Scandinavian dolls to be taken to the German bosom, scoring a string of hits from 1965 onwards. After relocating to Germany, she entered the 1965 Deutsche Schlager-Festpiele song contest in Baden-Baden as she would get to appear before millions of German tv viewers. Although she finished in 2nd place behind Peggy March, her performance was enough to launch her career.
  6. Well I know if they quote a lower price first & you order it at that point .... then their price increases; they sell it to you at the price they 1st quoted !! When that happens, they always state that they sell it at the best price they can but always honour a lower price if you ordered when that was quoted. I'm sort of hoping that when the price falls after an order, they will sell it to me at the best (lowest) price they have it on at (as they have not yet dispatched my copy of the CD). Otherwise, surely I could just cancel my original order .... and then re-order at the new lower price.
  7. CHEERS, no doubt I'll get a partial refund from Amazon when the 2fer comes.
  8. Ian, what will the RRP (if there is such a thing anymore) for this 2fer CD (Amazon charged me £11 for it) ??
  9. Been on holiday all week so "Everyday Will Be Like A Holiday" is most apt. William has been performing live for over 50 years now & yet I can't wait to see him at Cleggy. Back over 40 years ago, he got to spend a Christmas perfoming in Miami ....
  10. Can't wait for it to come out now .... hopefully as I ordered my copy ages ago, I'll get it on Day 1.
  11. The 'Boy Meets Girl' project & album was / is great (William & Mavis Staples + other Stax duets) .... if you don't know it, give it a try.
  12. William's 1st recording was way back (over 50 years ago in fact) but he made fine tracks over a very long period. Here's one I really like from 1985 ..... Extra Extra Read All About It ..... https://www.youtube.com/watch?v=qvSpbsybnlM
  13. Bugga, I bought a copy of the CD on Amazon earlier today & only just noticed that I have to wait about 3 weeks before I get my copy !!
  14. ....... RE: We could have done with that for the booklet Roburt! Ian, You only had to ask & a decent definition copy would have been yours. I 'collect' stuff like that and at present am assisting Emily Gibson of the Black Archives in Miami stage a show about the entertainment scene in Overtown (Colored Town), Miami back in the 1950's / 60's / 70's.
  15. Wow, some great tracks on this 2fer , off to buy a copy on Amazon as soon as I've posted this. Hope it sells well enough for a Vol.2 ...... as there's still many great tracks to fit onto CD .... ........ How about these ......... The Violinaires -- "Doing My Thing" OR "Condition" Brooklyn All Stars -- "We Need God" OR "Storehouse of His Love" Willie Morganfield -- "Are You Satisfied" OR "You Are Blessed" Bronner Brothers -- "Hold On To God's Unchanging Hand" .. PLUS ..... an added task ahead ........... I have the Morning Echoes of Detroit 45 track "How Do You Stand" but this is only 2min 40secs long. The 'singing bits' are great but too much of the 45 version is taken up with talking (rapping). There must be a longer version on tape with more & longer singing sections. Your mission (if you take it) is to find , mix & release that version !!
  16. Stan's home base .......... He specialized in BLACK GOSPEL !!!!!
  17. RE: Glenn Hunter would have been impressed ...... Cleggy & Prestatyn (now also sadly gone) will never seem right without Glenn being there. RIP old mate.
  18. Leader of the Soul Searchers back in the early 70's and DC Go Go star Chuck Brown has passed away. http://www.washingto...6zUU_story.html http://www.washingto...GGxT_story.html added by site Affectionately known as the Godfather of Go Go, Chuck Brown created the Go Go sound. He combined Latin beats, African call and response chants and American Jazz, throwing in a touch of soul with a continuous drumbeat. This nonstop dance music is and has been a trademark of original creative music from the nations capital, Washington, D.C., and has gained Chuck Brown worldwide fans. Chuck Brown began his musical career in the early 60s. His first stage experience was with Jerry Butler and the Earls of Rhythm. Then in 1965, he joined Los Latinos, whose syncopated backbeat enthralled him. This experience gave Chuck the confidence to get out on his own, incorporating all these styles into his band and introducing a sound unlike anything available at that time. I got sick and tired of watching people sitting around, Chuck says Disco was too fast-people didnt want to get all sweaty, and they just sat down. So we cut the beat in half. Chuck called this new sound Go Go, because it never stops. Chuck Brown exploded onto the scene in 1971 with his first hit We The People. In 1972 he scored again, with the hit Blow Your Whistle. This was followed by the gold album Bustin Loose and the ..1 hit single of the same name on MCA/Source Records. full bio can be read via http://www.myspace.com/chuckbrowndc
  19. Roburt commented on Roburt's article in Articles - Archives
    Another early Soul Searchers collectable 45 ....... their take on JB's "There Was A Time" .......
  20. Roburt commented on Roburt's article in Articles - Archives
    BTW, Chuck Brown and this group has nothing to do with Jake Wade & the Soul Searchers who were from the Michigan area.
  21. Roburt commented on Roburt's article in Articles - Archives
    An early Soul Searchers funk track ........
  22. Roburt commented on Roburt's article in Articles - Archives
    More info on the influence an early Soul Searchers track had on the later US music scene ..... https://funky16corners.wordpress.com/2008/02/06/the-soul-searchers-ashleys-roachclip/
  23. Roburt posted an article in Artists
    Jimmy Ricks was born in Adrian, Georgia before his family relocated to Florida. During World War 2, he moved to New York where he worked as a waiter at the 400 Tavern in Harlem (148th Street & St. Nicholas Ave). Whilst there, he met Warren 'Birdland' Suttles who originally hailed from Alabama. In early 1946, they decided to form a vocal group and recruited Leonard "Zeke" Puzey (who had just won a talent contest at the Apollo Theater) and 'Ollie' Jones. They found a manager, Ben Bart, and an accompanist, Howard Biggs, and made their first recordings for Bart's small Hub record label. They called themselves the Ravens and so initiated the trend for vocal groups to name themselves after birds. Although the group were strongly influenced by the Ink Spots & the Mills Bros, they used Ricks' bass voice rather than a more conventional tenor as the lead on their recordings and this became their trademark style. The Ravens primarily existed to showcase Ricks voice; he made Isaac Hayes sound like Betty Boop. Ricks' voice became the standard against which every rhythm and blues bass was measured for the next decade. The group had quite a few big chart hits, making it onto the national R&B chart 11 times over a 4 year period (1948 to 1952). This success made them a popular live act and they could command a fee of $2,000 dollars a night. However, Ricks quickly developed an attitude problem and his ego resulted in Howard Biggs quitting. After their initial single, "Honey", Jones had left the group and was replaced by Maithe Marshall. The contrast between Ricks' bass voice and Marshall's tenor soon became an important part of the group's success. They left the Hub label in 1947 to join National Records for whom they had immediate hits (the 1st one making the national chart early in January 1948). Their success with National prompted King to license some of their old Hub tracks for release and one of these even made the US Top 10 in summer 1948. Also that year they were landing gigs at prestigious venues such as the Adams Theater in Newark, NJ, Chicago's Regal Theater, the Million Dollar Theater in LA and a two week long stint at the Club Bali in Washington, DC. 1949 saw them play the Apollo a number of times plus the Paradise Theater in Detroit, the Royal Roost in NY (47th & Broadway), L.A.'s Club Oasis, the Earle Theater in Philly and Broadway's Bop City (Manhattan). Their run of R&B successes continued through to early 1950, with the basic line-up of Ricks, Suttles, Puzey, and Marshall essentially remaining together for several years. The group signed with Columbia & Okeh Records in 1950, before moving to Mercury the following year. In 1951 Marshall and Puzey both left, being replaced by Joe Van Loan and various other shorter-term group members. The group had its final hit on the R&B chart in October / November 1952, when "Rock Me All Night Long" rose to No. 4 (the highest position one of the group's 45's had ever reached). Unfortunately it was to be their last chart entry and in 1953 some of the recordings released as by the group were actually solo efforts by Jimmy. But with the rise of R&R, their style had became increasingly unfashionable. After several break ups within the group, Jimmy's version of the Ravens signed with Jubilee in 1955. But he soon quit the group to try for a solo career (1956). Jimmy must still have been something of a 'handful' to deal with and this showed as he was signed to 6 different labels before the end of the decade (Josie, Baton in 1957, Decca & Felsted being some of these). He was without a record deal in 1958 but was signed up by Felsted Records in 1959. Felsted Records was part of the Decca family and operated out of the New York office of London Records. They were very prolific with their releases in 1959, putting out 96 singles and about 3 LP's (one of these by the Jimmy Wisner Trio). Jimmy's first release for the label was "Secret Love" and this escaped early that summer. His new record label must have put some promotional effort behind this 45 as it seemed to do quite well (radio play wise) in the 'breakout' market of Baltimore. Here it seems to have been a popular track on radio stations WSID and WITH and this helped Jimmy secure two bookings at the top 'chitlin circuit' venue of Carr's Beach (near Annapolis) in September that year. He appeared on a bill with Hank Ballard & the Midnighters plus Faye Adams on Sunday 6th September and returned alongside the Bill Doggett Trio the following day. Jimmy continued to record as a solo singer without too much commercial success throughout the 1960's. He had records out on Atlantic, Atco ("Daddy Rolling Stone" with the Raves), Fury, Felsted Records (an earlier recording ?), Mainstream, Sure Shot, Festival ("Oh, What A Feeling") & Jubilee. Having lost his solo recording contract by 1970, he and Suttles got back together and temporarily revived the Ravens (adding additional members Gregory Carroll & Jimmy Breedlove) in 1971. At the time of his death, at the age of 49 in 1974, he was the vocalist for the Count Basie Orchestra.
  24. Jimmy Ricks View full article

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