Roburt

The Masqueraders main claim to fame, to an outsider at least, would seem to be there dogged persistence. Over the 40 years they have been together enough records (about 30 singles plus 3 LP's) to please even their most hardened fan have been issued (and these are just the tracks that escaped from the tape vaults) but they only actually enjoyed national chart success on 6 occasions, the last of these being in 1980. Although originally based in Dallas, they have over the years traveled extensively and have also recorded in cities as distant to their original home as Detroit, Memphis and Atlanta. The Masqueraders used a number of different names during their early years, even assuming the identity of hot groups for live performances up to the mid 60's (which is one reason they settled upon their own name). The talent they possess however has ensured that their distinctive sound evolved over the years, thus enabling their true ability to shine through. Most of the producers that have worked with them (Isaac Hayes included), and even some who just wished they had worked with them, have recognized their special vocal expertise. Robert Wrightsil and Charlie Moore first formed a singing group back at TC Haskell School in Dallas, Texas in 1957. They initially called themselves the Stairs and the line-up (5 strong) actually made it into the recording studio to cut a track. This original group was together for 2 years before disintegrating as members left or went into the services. After a few short-term personnel changes, Lee Jones, Harold Thomas and eventually David Sanders were permanently added to the line-up and they began performing locally, doing well in talent contests. Before long they were also performing in small towns across Texas and their burgeoning harmony skills allowed them to sound like many top chart groups. However in 1964 they decided to stop impersonating groups such as the Drifters and took on a new identity of their own, thus the Masqueraders were born. They went into the recording studio almost straight away to cut their first record under the new name. The single (Mans Temptation) failed to make any impact but did make enough noise to enable them to hook up with a new record label, Soultown (1965). For this company, the group were allowed to cut a couple of their own compositions ("Talk About A Woman / That's The Same Thing') and these showcased the harmonies that would later become the groups trademark. Lee Jones handled lead vocal duties on the tracks, whilst behind him the others utilised gospel and doowop vocal techniques to good effect. Unfortunately once again the single didnt manage to make an impact (even in Dallas) however Thats The Same Thing would go on to become a top Northern Soul scene play in the UK. The group decided that a more adventurous strategy was called for. Motown was dominating the soul charts at the time (1966) and so they decided to make the trip up to Detroit to audition at the companys Hitsville studio. One-way plane tickets were purchased for each member and they headed north. Unfortunately upon arrival at Motown they found that Mickey Stevenson (the producer they had arranged to audition for) had just left the company. Instead, they auditioned for James Dean and he told them that as Motown already had the hugely successful Temptations they didn't need another five strong male group. They were crestfallen and in somewhat of a desperate plight as they didn't have enough money to get back home. As live performance fees had sustained them back in Texas, they set off to find the only local club they had heard of, the Twenty Grand. Walking the streets trying to locate the club, they came upon a house with a microphone standing in the window. Thinking that it could well be a recording studio (after all, Hitsville itself was located in a converted house) they knocked on the door. Their decision to chance their arm was instantly rewarded, as they were allowed to sing for the guy who answered their knock. He seemed impressed with their singing but told them to call back when his boss was home, as only he could make the decision as to whether they would be signed to a contract. Encouraged, they pressed on to the Twenty Grand Club, asked for an audition and were granted permission to get up on stage and sing. Their performance went down so well that the audience threw money up on the stage to them. Thus they had sufficient cash to fund a cheap hotel over the weekend. The following Monday they met with Lou Beatty, the owner of the small studio that they had stumbled onto. He also was impressed with what he heard and signed them to his La Beat label. By pure chance, Lou had been looking to record a harmony group and had a few suitable songs already waiting to be cut. Although the group really enjoyed the experience of cutting for La Beat (where they worked with the Brothers of Soul), unfortunately none of the singles (6 in all) released by the label were big sellers. Tracks such as How and I Got The Power would eventually become sought after sounds in the UK, but their initial lack of success led the group to once again re-assess their career. Detroit no longer seemed to be the place for them to find success; even Berry Gordy was moving his empire out of the city. So following on from discussions with old colleagues back in Dallas, they travelled down to Memphis in 1968 to call in on Chips Moman. The decision proved to be a good one as they secured a new recording contract with Chips AGP set-up. In all 9 singles were released (on various labels) during the group's time with Chips Moman and Tommy Cogbill at American Studios. They first recorded 2 self-written songs, the frantic "I Don't Want Nobody To Lead Me On" & the deep soul styled "Let's Face Facts", which were released on the Wand label. However "This Heart Is Haunted" and "On The Other Side" (another slab of searing deep soul that was also released in the UK on the LP Bells Cellar of Soul Vol.2') were sold to another New York based outfit, Amy Records. To avoid the contractual problems that would have ensued if either of the companies had discovered that they were competing for the same group, the Amy single was released under the name Lee Jones and the Sounds of Soul. A second Wand release followed later in the year ("Sweet Loving Woman / Do You Love Me Baby" -- 1968), but this proved to be the last release by the group on Wand. Chips Moman though was able to convince Amy records to stick with them and the next Masquerader's single escaped on that company's Bell label. By now, the group's cuts had taken on a distinctive Memphis feel and the group were really beginning to forge their own unique sound. It was their initial Bell release that secured the outfit their first real taste of commercial success, when in the summer of 1968, the timeless "I Ain't Got To Love Nobody Else" was issued. This rapidly climbed the national soul chart to make it into the Top 10, it even managed to make it up to #57 on the US pop chart (and also secured the group their first British 45 release). The record stayed on the soul charts for 3 months and the group toured extensively on the back of its success, even making it back down to Texas to perform. Their next release, "I'm Just An Average Guy" (issued on the AGP label itself but still via Bell) repeated the hit formula; it entered the national chart in January 69 and peaked at a position in the Top 30. Once again this track also escaped in the UK, being included on the 'Bell's Cellar of Soul ' Vol.3' album. Unfortunately even though 4 further singles followed, none of these made the charts and the group's profile was no longer ascendant. Around 1969, they met up with Sam Hutchins and he got on so well with them that he would sometimes be utilised as an alternate lead vocalist (in place of Lee Jones). By 1971, they were back in Dallas and had started their own label, Stairway. They recorded and released "Let Me Show The World I Love You" but, without proper distribution, this single and 2 follow-ups sank without trace. In 1973 they returned to Memphis and with Sam now in place of Lee, signed with and recorded for Willie Mitchell's Hi label. Unfortunately this decision wasn't the right one, as Hi and Willie Mitchell were fully focused on riding the crest of Al Green's international pop and soul chart success at that time. Even though their first release for the label, the self-written 'Let The Love Bells Ring', was a really classy outing (and almost identical to the commercially successful tracks emanating at that time from Royal Studios) it failed to return them to the soul charts. A second stylish outing followed in March 74 but the group could see that Hi were concentrating their efforts elsewhere and so were tempted away to join Isaac Hayes Hot Buttered Soul (HBS) label. With Lee having returned to replace Charlie Moore, their first outing for HBS (the single 'Baby Its You') put them straight back on the soul charts in late 1975. The good times really returned in 1976 though as, with 'Baby Its You' only just dropping off the chart, '(Call Me) The Travelling Man' (the follow-up single) surged past it on its climb into the Top 40. To capitalise on their signing, an album (the group's first) had been released simultaneously with their first single by HBS. 'Everybody Wanna Live On' contained 8 tracks, 7 of which were penned by the Raders themselves. Although both of the cuts lifted from the album to become hit singles were the type of ballad the group were known for, other tracks included on the LP (the title track + 'Listen' & 'Sweet Sweetning') were more reminiscent of the uptempo sounds coming out of Philadelphia at that time. The album, boosted by the popularity of the singles, also went on to sell well and rose in the national chart to reach #57. When the success of their singles and the album resulted in the group undertaking some live shows in Philadelphia, Kenny Gamble (one of the masterminds behind the Philly International label) was so impressed with the group's performances that he invited them to record for him. This prospect excited the group but Isaac Hayes was having none of it and warned Kenny off. Two further cuts were lifted off the album ('Your Sweet Love Is A Blessing / Please Don't Try') in May 76 to form another single release, but this time the 45 failed to dent the charts. They were soon back in Isaac's Memphis studio though and a second album hit the shops early in 1977, 'Love Anonymous'. Unfortunately by this time, Isaac and his label were sliding into bankruptcy. Little effort was put behind promoting the album and no singles were lifted from it, so when HBS actually went under, the group had been off the charts for some time. The group however continued to perform and record (backing up Ollie Nightingale on one of his releases in 78) but they remained without a recording contract until 1980, when Bang Records in Atlanta signed them up. Bang put out a further LP and 2 singles on the group and the first of these ('Desire') spent almost 3 months on the charts in spring 1980. This was however to be the group's last chart entry but they remained together and still performed constantly. A couple of limited edition releases on TNT escaped in the early 90's however the members took up other jobs and performing became a part time pastime for them. Lee Jones, Sam Hutchins and David Sanders moved back to live in Dallas whereas Robert Wrightsil and Harold Thomas remained in Memphis. David Sanders though travels up to Memphis when the group have a gig and today you can still catch the trio performing in the city on a regular basis. So whether your craving is for uptempo Detroit dancers, deep emotion dripping vocal epics, Memphis movers or 70's styled soul of the highest order, the Masqueraders can supply your needs. The path that has eventually led them to Prestatyn has been a long one, but I'm sure the 40 years it has taken the group to arrive will prove to have been well worth the wait J R Smith Thanks go to JR Smith for ok-ing to use on Soul Source Full details on the weekender featuring Masqueraders as just one of the guests can be found on the Legends Weekender website

Bill Spoon and the Soul Notes In 1997 a Channel 4 TV documentary dealing with the duties of the LA Coroners office was screened in the UK. One of the people who's day to day tousle were illustrated in this programme was a department member by the name of William Bell. Now for most people who saw the documentary this will prove to be their one + only insight into the like of William Bell. However northern / modern soul fans will already be acquainted with his work in the music business where he is better known under his recording / stage name of Bill Spoon. William Bell (Bill Spoon) was born on November 6th, 1942 in Jefferson County, Alabama. His interest in music began at an early stage under the tutelage of the late Alex Bradford. His home area must have been a hot bed for musical talent as Bill grew up in the company of numerous others who were later to forge successful recording careers. Bill attended High School with Frederick Knight, Barbara Joyce Lomas ( later to become a founding member of BT Express ) and Richard ~ Jessie Fisher. In fact, for a short period, Bill and Richard sang in the same street corner group. He would get together to write songs with his neighbour, and long time friend, Roger Hatcher and he also participated in local talent shows with the likes of Eddie Kendncks &: David Ruffin. Bill was also a member of the Miles College Chorus where one of his fellows was Mitty Collier who would go on to enjoy success with Chess Records. In the early sixties Bills plans for a musical career seemed as if they would have to be put on hold as he was called up into the Army. However he soon turned the situation to his advantage, as he spent two years ( 1962/3 ) entertaining the troops in Korea as lead singer for an outfit known as the Soul Masters. He was relocated to Germany for a further period where he was lead singer for a group who went by the name of the Uniques. In 1965, at the end of his tour of duty, he returned to Alabama where he completed his education in Birmingham At the time, however, there were few opportunities in the area to make the inroads into the recording business that Bill aspired to. As a result of this he followed the example set by Eddie Kendricks and David Ruffin and moved north to relocate in Cleveland, Ohio. Other locals took the same road, Richard and Jessie Fisher also making the same move with Roger Hatcher following a few years later. On his arrival in Cleveland, Bill was reunited with Walter Ricky Dannison who he had got to know before going into the Army, this occurring in June 1965. Walter introduced him to Leroy Elie, with whom Ricky had sung while Bill was in the army. Riki, Leroy and Bill realised that they had the gist of a competitive singing unit, but were one voice short of a true blend. In August 1965, they met John Cornbread Berry and he became the fourth member of the as yet un-named group. The group started to perform in night clubs but only on weekends as they all had full time day jobs. Walter did some form of quality control at the Cleveland Chrysler Auto Plant, Leroy was a commercial electrical and mechanical architect while John was the floor manager at a metal photo processing plant. Bill himself was a criminal investigator for the State of Ohio. Soon after the line-up adopted the name the Soul Notes their collective efforts were recognised as in November 1965 they were signed to a recording contract by locally based Way Out Records. The group continued to gain experience and hone their performances and by 1967 Way Out were ready to let them record in their own right. Initially two tracks were laid down, How Long Will It Last and Dont Make Me Beg but Way Out were in the process of negotiating a national distribution deal with MOM and so the companies releases were delayed while this was completed Early in 1968 though the two tracks were released as a single, Way Out 1001. The group returned to the recording studio and a further two tracks were recorded, I Got Everything I Need and I've Been Waiting For Your Love. Way Out decided a second single was warranted on the group and so in 1969 they enjoyed another release, I Got Everything I Need / How Long Will It Last - Way Out 1006. For some reason Way Out decided to leave I've Been Waiting For Your Love on the shelf as they re-used one side of the groups first single. This decision undoubtedly robbed uptempo soul fans of a potential favourite as I've Been Waiting For Your Love had definite dance floor potential. The song had been driven by Bill along with group member Walter Riki Dannison and the Sensations Johnny Washington. Someone at Way Out must have thought the song had potential though as they got James Calloway to come up with an alternative set of lyrics. The revised version of the song was later (1971) to be recorded ~ released for the company by Jessie Fisher, the songs new title being Your Not Loving A Beginner - Way Out 104. The Soul Notes cut a further 6 tracks in Way Outs studios in 1969 but unfortunately none of these gained a release. The songs laid down by the group were Please, Baby Please ( a version of the Sensations track), I Cant Wait Until The Weekend, Try It, You'll Like it, I'm On My Way, Ill Wait For You and Alone. The groups treatment by Way Out was fling its members and in 1969 John Berry quit the group. His place was taken by Avon Wells but Avons stint with the Soul Notes was short lived as within a few months he moved on, becoming a member of the Imperial Wonders. Bill, Riki,Leroy continued on as a trio but in early 1970 a power struggle broke out at Way Out and the companies management became chaotic. In the confusion a number of projects got lost, a new Soul Notes release being amongst these. Bill is sure a few test pressings featuring tracks they had laid down in 1969 were made but none enjoyed an official release. Discouraged with their future the Soul Notes broke up. Bill Spoon decided a change was again called for and so he moved back down south, relocating to Memphis where he worked briefly with Frederick Knight. Bill soon returned to Cleveland though and later in 1970 he cut his first tracks as a solo artist. He cut five songs in all (Gotta Go On, Its Hard Livin Alone, etc.) and these were destined for release on Springboard Records. A few demo copies were pressed up but unfortunately the scheduled release failed to make it into the shops. Bill next acted as producer /arranger on a session for Walter Dannison, who now went by the recording name of Riki Sonda, but again a release failed to materialist. In the meantime Bill had formed a relationship with Bobby and Friendly Womack and so he moved out to California which was where they were based. Here he met Pete Peterson and Tom Wilson and in conjunction with them he landed a recording deal with Angel City Records who were to be distributed by Polydor. Bill cut 4 tracks for the label in 1972, 2 more in 73 and another 4 in 1974 however the untimely death of their executive producer, Tom Wilson meant the project ended. A number of the tracks were co-written / produced by Gene Dozier these marked the first occasion that Bill and Gene had collaborated in the recording studio. Four of these tracks were to find favour with UK soul fans in the late 80s when they were reissued on a Hense Forth 12". The tracks involved were I Can Feel It from 1972, Shell Be Lucky from 1973 (both of these being written /produced by Bill himself), The One Who Really Loves You and I Bet You Cant Love Me One More Time from 1974 (both being co-written &produced by Gene Dozier). Yet again Bill returned to Cleveland and here he organised a deal with Hot Ice Records. In 1976 he recorded 2 tracks for the company, a further 2 in 77 and 5 more in 78. One of the tracks that he recorded at this time was a song Bill had written with ex - Soul Note Riki Dannison, I Got God On My Side. Once again unfortunately nothing really resulted from He association. By 1980 Bill had thrown his lot in with Bob Davis who had earlier run the Day-Wood label. Gene Dozier, who at the time was working for Solar Records, was fetched across to Cleveland to oversee the proposed recording session. At this session Bill laid down 2 tracks, Love Is On The Way ~ Dont Play With My Love and these were released on the newly instigated Highland label. Unfortunately the company didnt have the finances to properly promote and distribute the single and so commercial success eluded Bill yet again. The quality of the tracks was appreciated by UK fans though and the single became a much sought after item on this side of the pond. Eventually, to satisfy the pent-up demand, the record was also reissued on Henseforth in the late 80s. The problems the Highland release experienced finally convinced Bill that he wasn't going to establish a successful recording career in Cleveland and so in the early 80s he returned to Los Angeles. Over a period of several years he collaborated on projects with the likes of Friendly Womack, Leon Haywood, Lou Ragland and Gene Dozier. By the end of the eighties he was ready to give a solo career a try again He linked up with Hense Powell and a number of tracks were laid down. The result of this work saw the light of day in 1990 when the Henseforth LP Talk To Me was released This 8 track strong album immediately found a receptive audience in the UK but unfortunately maldug the US record buying public aware of its existence and quality was to prove a more difficult task. A number of songs on the album help illustrate the enduring musical associations that Bill had developed over his long career as they were co-written with old allies. One of the LPs most popular hacks, Kick Back was composed in conjunction with Lou Ragland whilst Riki Dannison assisted with Look At Yourself. Further Henseforth recordings escaped in 1995 when the single I Rode The Crest Of The Wave / No Way To Live was released but again it failed to find a wide audience. Bill isn't a person who's easily discouraged though and he continues to work on new material. He has re-recorded I Got God ~ My Side along with a number of other songs. Bill feels his duties on behalf of the L.A Coroners Office are becoming too arduous on a day to day basis and so he is determined to make another effort in the recording field He has plans to release a new C D. I hope that this sees the light of day in the near future and that, at long last, it results in Bill getting the recognition long overdue to him. JR Smith Oct. 98 Taken from Soulful Kinds Music Dec 98 issue with permission