Roburt

The Prolifics ... who earlier had gone by the name of the Moovers (Deep City).

CHEERS, no doubt I'll get a partial refund from Amazon when the 2fer comes.

Ian, what will the RRP (if there is such a thing anymore) for this 2fer CD (Amazon charged me £11 for it) ??

Trevor Vallis produced soulie type stuff by Casablanca (for Elton John's Rocket label) in 1973 .... ... AND .... Sandy Davis í…½- A.P.B. (All Points Bulletin) a 45 for Pacific Records (a W.Bros distributed label in the US) in 1978. In 1979 he produced Sylvia Love on "Extraterrestrial Lover" & "Instant Love" (RCA). He seems to have (usually) used London area studios for the sessions he ran back then & worked with artists who also used the likes of Ian Levine + Stock, Aitken & (ex NS DJ Pete) Waterman to produce their tracks. By the 80's he had moved onto to dance, pop & rock stuff.

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 ....

Back 'across the tracks' & Xmas 1969 saw upcoming Cleggy star William Bell entertaining the punters ...

Get some work done our kid !!!

A 'white audience' show on Miami Beach in September 1970. Jesse Lee Ferguson had got tired of his group being the Outer Limits and by this time they had become the Jet Setters. Support act Little Willie has to be southern soul icon Little Willie Johnson who recorded down in Miami shortly after this show was staged (though he wasn't from Florida). What the white audience made of this deep soul & gospel singer I can only guess. Anyone know which set of SOUL SETTERS the act also on this bill would have been ??

Can't wait for it to come out now .... hopefully as I ordered my copy ages ago, I'll get it on Day 1.

Marie Knight followed the Impressions (& was on with them) ....

RE: Most of the RSD release are forgettable or "interesting" at best In your opinion only ..... I know that just about all of the Ace RSD releases are very much sought after & you have to be a lucky punter to actually get a copy of some of them. Of course, you can always buy the track on the alternative CD release (which most folks do). But as we all know, some folk are vinyl only.

Another Philly artist hits Miami ...

Still buy blind, especially when out in a shop looking thru the racks. If it looks promising & the price is right, I risk it. Picked up some dross (pop, C&W, etc) & some goodies that way (mind you I like 60's, 70's 80's, 90's, Y2K, slow, deep, dancers, blues, gospel, funk, jazzy, southern, Motown, etc).

RE: I'd expect to hear that type of rhetoric from divvies, but it's a bit odd to hear it in soul music circles. Steve, I think you will find that there are 100's of divvies in soul music circles. I know a guy who loves 70's Curtis Mayfield & yet don't like 1960's Impression's track .... go figure; he has to be a real divvie.

Cal Roberts is still performing ...... see here for info on him .... https://www.doubleexposureinc.com/legendslive/bio/croberts.html .............. ALSO ................. A few memories of a dancer at 'CASTAWAYS' and other venues in the Miami Beach area ..... 1. TOMMY STRAND AND THE UPPER HAND WERE PLAYING AT THE CASTAWAYS ALONG WITH SOME OTHER BANDS 2. JOE HART, THE FATHER OF TELEVISION PERSONALITY JEANNIE HART, OWNED THE CASTAWAYS 3. ANOTHER BAND BY THE NAME OF GEORGIE PORGIE AND THE CRY BABIES PLAYED AT THE CASTAWAYS AS WELL (I BELIEVE THAT THE SISTER OF THE LEAD SINGER WAS IN THE BAND AND, I THINK, PLAYED THE KEYBOARD) 4. CAL ROBERTS SANG THERE AS WELL AND SO DID HELEN GLOVER 5. ONE NIGHT I WENT TO WORK AT THE CASTAWAYS AND LEARNED THAT THE SAX PLAYER IN ONE OF THE BANDS, A GUY NAMED " DIZZY" HAD MYSTERIOUSLY DIED 6. A GUY NAMED "LARRY" WAS A GREAT GUY WHO WARNED ME,JUST A KID FROM MISSISSIPPI AT THE TIME, TO STAY AWAY FROM THE MOBSTERS, AS HE HAD BEEN MARRIED TO A GIRL WHOSE FATHER WAS IN THE MOB AND IT WAS NEARLY IMPOSSIBLE TO BREAK AWAY 7. I SAW FATS DOMINO AT THE 'NEWPORT HOTEL PUB' AND WAYNE COCHRAN ON SEVERAL OCCASIONS. COCHRAN HAD A HABIT OF JUMPING OFF STAGE AND BUSTING UP BOTTLES OF BOOZE. HE WAS QUITE AN ENTERTAINER. ( COUNTLESS YEARS LATER I SAW WAYNE SHOW UP AT MY FORMER CHURCH IN MARGATE AS A PASTOR.) 8. BY THE WAY, FUN THING ABOUT THE CASTAWAYS....YOU COULD SIT AT THE BAR THERE AND SEE PEOPLE SWIMMING THROUGH WINDOWS BEHIND THE BAR....LOTSA' FUN! 9. I ALSO DANCED AT THE MARCO POLO BRIEFLY WHEN A BAND LED BY "JUSTIN" (CAN'T REMEMBER REST OF NAME) WAS THERE. WILSON PICKETT WAS A GUEST PERFORMER IN OUR SHOWS AS WELL AS A LEANER AND MEANER "CHUBBY" CHECKER. I THINK THAT THE GREAT PETER MARSHALL BAND WAS THERE AS WELL. Mike Vetro and "The Treasure Chests" were another group that played the '7 SEAS' Club & Lounge in the Newport Motel (see earlier ads I have posted here). also .... a Ken Dixon states that he played with The Brass Dimension in the WRECK BAR (in Castaways -- see earlier ads) in 1969. They were, by default, the house band and backed up singers Dorian, Cal Roberts, Helen Glover and The Fabulettes. He says that the best bar in the area was one block west of the strip on 163rd Street, 'The Funky Broadway'. Tommy Strand and The Upper Hand played there. A pic of the Newport Hotel (where the 7 SEAS club was sited) on Miami Beach.

One of Clyde Killens posters just seems to say '5 Big Acts' ........... I thought the newspaper ad might be more specific, but it seems that it isn't that much better ... Here is the ad that I assume is for that show (staged in Oct 66) .... ALSO NOTE at the bottom of the flyer that upcoming act Sam Early & the Sweet Daddies will be playing the venue after .... '3 years across the tracks' so I guess they were just finishing a long engagement at a local 'white audience' venue.

Paul Kelly was on this show ....

There's some more Philly related acts to come, but I thought i'd post up this piccy of a Windy City act that played Miami in 66 ...

May 62 and Detroit meets Philly on the same bill ......

.... and here's the newspaper ad for that self same show ....

Here's a copy of an example of the posters Clyde Killens had designed to promote the many many shows he promoted in Miami ...

Got a better copy of this at home (but its not on this laptop) .... but even this poor copy of a Feb 1964 ad is worth posting. The Vibrations followed Dee Dee into the Knight Beat (followed by the Impressions). BTW, when did the Vibrations start basing themselves out of Philly (they were using Philly musicians in their backing band some years before they signed with G & H's Neptune Records).

New acts used to gravitate to the local radio stns in most every US city back in the 50's & early to mid 60's. They hooked up with a local DJ at the stn & this helped them get gigs (though they would earn very little appearance money). Some acts even cut rudimentary tracks down at the radio stn studios. Kenny Hamber hooked up (in Baltimore) with Sparky Mellon at WSID and then Hot Rod, Jocko (who had started out in Baltimore before moving on to Philly & New York) and Fat Daddy. The radio DJ 'brotherhood' set Kenny up with a record deal in Philly with Jimmy Bishop. After that, Kenny used to drop in at Jimmy's B's Philly radio stn (can't recall the stn call letters at present - was it WDAS) coz that's where Jimmy's office was (where he ran his artist management agency & Arctic from on a day to day basis). Kenny also hooked up with other Philly based 'movers & shakers' and landed jobs on local TV dance shows, etc. Baltimore was an important 'radio breakout' city, where many record companies did their best to break new 45's .... so although it had no really decent recording studios (till the late 60's) and no strong local black record labels, it was still viewed as an important market by record biz execs. Jerry Williams, when based in Miami, would travel up to Baltimore to promote his new product (if he could get radio plays in the city, then stns in other cities would also start to play his track). On one visit, he took Paul Kelly with him to WWIN in Baltimore. Jerry W was networking with all the DJ's he knew but he also introduced Paul Kelly to them all. Paul was trying to get his new 45 played ("The Day After Forever / Stealin In The Name Of The Lord") but it had been out a while & was getting nowhere. Lots of people (the church, etc) had taken against the lyrics of "Stealin .. " and so the other side had become the plug side. DJ Rockin' Robin took a copy of the 45 off of Paul K and gave it a spin. He liked what he was hearing ("Stealing"), so immediately put it on the air. He liked the cut so much, he played it a few times on one show & the stn's switchboard lit up. The track took off, other stns started playlisting it & in no time at all it was on the national singles chart. So, in that case, it was Jerry Williams who had helped break a Miami 45 but Jerry wasn't the normal guy who hooked up Miami artists with Baltimore, New York or Philly contacts. Henry Stone was just about locked in with Atlantic/Atco/Cotillion back in the late 60's and early 70's. I guess it was an influencial black radio DJ down in Miami who introduced artists to Jimmy Bishop & Arctic Records but I would like to find out who it actually was.

Daft thing about that 45 was all the press interviews given by Jan & the label guys in Cleveland Town back in the day made a point of naming both the A side & B side tracks (2 different songs) and yet I have never seen a copy that wasn't Indie Woman Part 1 & Part 2. Guess there must be a couple of test pressings about somewhere that has the 2nd track on one side (& what length will Indie Woman itself be on such a 45 ... maybe longer than Part 1 on the common issued version of the record).

As well as having two distinct 'entertainment' scenes, Miami artists had 2 options if they wanted to cut records in the 1960's. Sign with one of the small local outfits & hope that the likes of Atlantic came in to license their 45 for national distribution .................... OR .............. sign with an 'out of State' label such as Duke / Peacock / Backbeat OR a Philly based label such as Arctic. The Bell Brothers went with the former whilst the likes of Della Humphrey went with the later. DAVE, do you know why so many Miami acts had 45's released by Philly labels .... who were the guys at either end that set up the links to enable this collaboration to occur ??