Roburt

So, if the King Sound Interpreters two singles were indeed made at Kay Banks Nth Carolina plant, the 2nd one must have been among the last records to be mastered & pressed there as that facility was closed at the end of 67 or very early in 68. Anyone know where their Nth Carolina plant was located ?

The Island Club and Soul's Place were mid 60's clubs in Overtown, the casino billboard is for a 2019 show.

The group had their 45s pressed up by an 'old-time' studio / pressing plant outfit all the way across in Minneapolis .. Kay Bank … that seems strange as they had all the Ohio, Michigan, Pennsylvania, Maryland, Nth Carolina & Tennessee plants much closer to hand. It's not as if Kay Bank were soul specialists, they cut / pressed just about anything. Kay Bank had been set up way back in 1946 and the original owner sold out in 68 … mind you, it seems Kay Bank also had a pressing plant in Nth Carolina in the mid 60's, so maybe that's where the King Sound Interpreters singles were made.

It's 'horses for courses' of course ... Being that bit older than many on here, most of my niter faves are referred to by many as 'youth club sounds' … AND of course … being that bit older, many of the Casino faves mean little or nothing to me.

We winter in Florida and recently took a trip along the I-95 thru Overtown … not too surprised to see it clings onto it's black heritage still … PLUS an interesting article that deals with the subject of 60's / 70's Miami soul ... https://www.standardhotels.com/culture/florida-miami-soul-history-overtown-johnnys-records

Well Buddy Killen was doing soul missionary work up in Nashville with Joe Tex and his other black artists, so Chips should have felt at home. Mind you, he soon returned to Memphis, so Nashville can't have been to his liking.

It didn't specify which cities it was hot in … BUT Jerry O's 45 was doing well back then …

In 1963, Chubby Checker was in Ireland doing missionary work (showin em how to really dance) !!

Good job they cut the tracks when they did then as he was out the door not too long afterwards & off working in Nashville.

Seems the band Detroit contained ex members of the Detroit Wheels, so Mitch must have been trying to catch some of the teaming's old glory in 70 / 71. Musically though times had changed and the outfit never really broke through. Mitch split from them a couple of years later and they kept going, with Rusty Day on lead vocals. Rusty Day was another singer with an interesting history as he'd been in Amboy Dukes (the US band who used that name), then in supposed supergroup Cactus (having been picked as lead singer when Rod Stewart joined the Faces instead of Cactus). By 1973 (after Cactus had broken up), he was fronting Detroit. There's a bootleg album out there (attributed to Lynard Skynyard) of Rusty singing with Detroit and this was cut in the Driftwood Lounge of the 20 Grand Club (Detroit of course) ….. https://www.youtube.com/watch?v=g0DfDWIQFF0

Seems that by early 67, Mitch Ryder was far from happy with the tracks Bob Crewe was getting him to record …. he broke free from Crewe (having to loose the Detroit Wheels along the way) and started performing live with a new backing band. Seems he was still tied to Crewe & New Voice / Dynovoice Records as he cut more stuff with the teaming right thru till late 68 (unless Crewe had quite a bit of material in the can in late 67 / early 68). By 69, he'd switched to the distributing label (DOT) and was recording with the Stax crew down in Memphis. 1970 saw him rebadge himself & his band as Detroit featuring Mitch Ryder and cutting for Paramount. Mitch never really got back the commercial success he'd enjoyed with his early Bob Crewe outings though, but he toured the US performing live for a good length of time. This article captures the anger he felt towards Crewe after their initial period together … https://baltimorejam.wordpress.com/2015/03/14/the-mitch-ryder-show-courtesy-of-george-shuba/

More about Hot Rod … https://www.bluesaccess.com/No_29/rooster.html

The Vibrations toured the UK a couple of times in the 60's. They would always inspire Brit dancers with their stage moves …. (watch the vid from about 3m 30 secs in) ……

70's soul dancing (US style) …

So "Gonna Find The Right Boy" made some noise in Baltimore, got local radio plays and charted on WWIN. From the mag info, it seems Hot Rod was pushing Audrey's track from the date of it's release. Hot Rod had been an ever-present on Baltimore radio since 1951. He was the MC on many big shows staged at Baltimore's Royal Theatre and at Carr's Beach. Richie Barrett is listed as the tracks producer with Leon Huff writing the song. Richie did quite a bit of work with Swan (mainly 3 Degrees or 3 Degrees members cuts) on which he'd also worked with Leon Huff before Audrey's track. Norman 'General' Johnson also worked with Richie on 3 Degrees related tracks for Swan. In addition to these cuts, Richie & Leon had also co-operated on earlier Swan cuts by the likes of (Norman Johnson &) the Showmen and Locomotions. Richie had also worked with Norman Johnson on Eddie Carlton's Swan cuts. Obviously Richie Barrett was the 'elder statesman' in all these collaborations (he'd been involved in the recording biz since the mid 50's and had recorded himself since around 1958, cutting the Beatles fave "Some Other Guy" with Leiber - Stoller in 62). It would be great to learn something about the dynamics of the studio process on tracks like Audrey's outing.

As the Yank says … the V.I.P. guy is a Frenchman who recorded 100's of useless pop tracks (in France) …

An earlier outing by him …

Is anything known about this guy …….. https://www.youtube.com/watch?v=jFyaJiO35NI

It has been well known for years that "Green Onions was recorded in no time at all as it was just gonna be a throw away B side when the studio band had no 2nd cut to put on a proposed 45. ….. HOWEVER … the fact that the MG's name was originally inspired by the Abingdon built MG sports car brand is definitely a new fact to me. . . . . . ABINGDON ASS.

At home, I only play 60's rekkids on a 60's system … I've posted an ad that shows my system below … HOWEVER, my mate 'Snakehips' Temple tells me I should only play original US CBS 45's on this … when I fetch a Date home, I want to be able to play Epic stuff, not just Reffa, Spellbinders, Shirley Ellis, Rhetta Hughes, Mongo Santamaria, Gigi & the Charmaines, Dee Clark, George Carrow & Chambers Bros stuff. I'm not even sure if it's OKeh to play CBS Special Products releases … I think I need help !!

Seems the Boogaloo was still going strong in Philly in late 66 ...

Audrey, it would be good to learn anything at all about your recording session for "Gonna Find The Right Boy" (or any other of your studio sessions) … PLUS … what can you recall about that HOT ROD tour (what type of venues did you perform in & how long did the tour last) + what can you recall about the other acts (George Jackson is a bit of an undocumented singer apart from his earlier years in the Balto group the Plants). Did you get to meet the song's writer, Leon Huff ?? Your 45 has been known to sell for a lot of money … Many thanks for posting here.

They're just pulling the Skyline / Baileys / Romeo & Juliets building (the old Co-op) down …

It's been pointed out already that the 100 Club wasn't on too many 60's mod / soulsters radar back in the 'swinging decade'. This isn't too surprising as the club stuck with it's jazz band policy right thru to the end of the decade. It had tried to generate a R&B crowd following on some nights of the week in 1964 (temporarily taking up the Rhythm & Blues banner for those nights in Feb 64) but it seemed to slip quite quickly back into it's more normal jazzy ways a few months later and remained with (mostly) live jazz outfits till at least the end of the 60's. I was a 14 year old school kid up in Yorkshire in early / mid 64, so have no 1st hand knowledge of the club or it's music policies back then … anyone know why it dabbled with R&B for a few months and then went back to a (mainly) jazz diet … did the London mods not take to the club way back then ??

Johnny Otis also had his in-house backing singers outfit; the Otisettes …