Roburt

Just about all the output on the LABELS (?) named above were by her. They were owned / run by her multi millionaire husband & (as already stated) were give-away items not shop sold records. She released 100's of tracks, nearly all total crap (even if some of the songs were decent, here singing on them wasn't). She cut vanity records coz she had the time & money to do so. Most were covers of existing hits performed by a grandmother in her 60's who could no longer carry a song. SORRY, but if this is what NORTHERN has recently descended to, I will be staying in the modern room.

Chalky, you obviously don't know what gets played just up the road from you, as her "Barefootin" was a big play at King Bee Rhythm ‘n’ Blues Club in Sheffield (they promoted their nights on here too). ALSO a "Franklin St" track video was put up on YOUTUBE by Lancashire AGoGo ... and all their posts are of NS spins.

They weren't trying too hard to hide the links to the plastic cup company of this LP's record label.... wonder what HB made of it all ... Think I'll try covering this one up ...

Others by her that get plays .... AND the one Chalky mentioned ... her vocals are just as bad on this ..

I'm well out of the loop these days with regard to what gets played in 60's NS rooms BUT I do sometimes come across tracks on YOUTUBE that have been posted by Northern guys ... I was surprised to see a couple of tracks by Dora Hall posted up as NS spins ... made me really laugh .... Dora was born in 1900 and was a music hall star (of sorts) in the 1920's before marrying a multi-millionaire. She settled down, started a family & the like .. BUT by the early 60's, she was wanting to make a comeback and so started cutting 'vanity recordings'. Her hubby, via his company (Solo Cups), sponsored TV shows that starred her and added free 45's (by her) as give-aways with packs of his disposable plastic cups ... He also started (what are called on-line) a couple of fake record labels on which to put out LP's & singles by her. So her 45's were free give away items that now seem to be commanding decent money ... Nothing about the NS world shocks me these days BUT to have DJ's chasing / spinning freebies made by a rich white grandmother in her 60's seems to take the biscuit. MORE INFO on the couple & his cup company ... https://en.wikipedia.org/wiki/Solo_Cup_Company#Founder

Ady would know the info much better than me (but he's busy this week) ... I'm led to believe that the track will be on a new CD out soon -- 'While The City Sleeps' another Motown compilation from Ace Records. Seems Edwin wrote the song & then produced a version of it on the Spinners (probably around 69/70) ... guess he would also have cut a version himself. Isn't there an on-line site that lists all the details of every Motown track cut (artist / track title / date / producer ETC). Seems the title track of the CD is also by the Spinners as if you do a google search this comes up for a YOUTUBE clip ... While The City Sleeps · Spinners -- Motown Unreleased 1965 ℗ 2015 Motown Records Released on: 2015-12-11 Producer: Marc Gordon Producer: Hal Davis Composer: Bill Page ... .... .... but I can't find which CD the track was included on & the YOUTUBE vid won't play in the UK.

Ledyard Hopkins current BMI registration info ...

Hoping someone here who understands the intricacies of the music biz can answer this query .... As I understand it, the best way to ensure payment for your recorded work is to register any & all songs you have written with BMI / ASCAP (in the US) or similar. If you register your compositions, then royalties due when a song is recorded / released / re-released will flow back to you. Also, when the track is played on radio / in a club or bar / used in a TV show or movie, you will be due payments. So for anyone who has written a song / songs it would seem to make sense that they register that song & then keep in touch with the organisation that you've registered it with (at least keep them updated on your contact details). Then if a reissue company comes looking, you can be traced via say BMI and a deal set up. ... BUT ... having checked on BMI & ASCAP on numerous occasions, info on a previously registered song & it's writer is (many times) missing ... even when you can do a quick check via Youtube or google to discover your old composition is now an anthem somewhere in the world. Doesn't make sense to me. TWO QUICK EXAMPLES ... LEDYARD WILLIE HOPKINS was the leader and song writer for Dallas based Love Company. He registered "Love Tempo" with BMI and his publishing company (Pocket Money Music) when it was released on a SRO 45 back in 1980 ... the cut eventually went big and so he re-released the track on his own LCM record label (Love Company Music) ... but even though he knows he has an in demand track, he still let his details at BMI lapse. So they have him registred as a composer with them, but they have no song details for his work or contact info for him. BACK IN THE 60's / 70's ... EDWIN STARR (CHARLES HATCHER) was a prolific song writer ... he signed up with BMI and registered many of his songs with them. This must have brought him a decent income stream down the years. AND YET, when you check his BMI entry, there are dozens of songs listed but not one titled "JUST A LITTLE PART OF YOUR LIFE" ... easy then, he obviously didn't write a song with that title. BUT he did and he cut it on the Spinners at Motown ... if you're registering songs that you've written, why not register them all & not just some ..... .... .... CONFUSED OF ABINGDON Anyone explain what goes on in the strange world of music publishing ??? ... an extract from Edwin's BMI listing ..

Another mag ad from 64 ...

Back to the golden days of EMI soul releases ... the Della Reese 45 (on Stateside) was a re-release of an earlier UK HMV (again an EMI label) 45 ... now I was on the scene back then & don't recall the Della Reese cut getting played at the time ... so just why had EMI put it out again .. any answers (please) ??

EMI was handling Motown product throughout much of Europe at that time ... BTW, Caston & Majors were Leonard Caston & Carolyn Majors ... Leonard Caston was a songwriter, record producer, pianist and singer. He worked for Chess in the 1960s. He co-wrote or co-produced several major hit records, including Mitty Collier's "I Had A Talk With My Man" (1964) plus stuff by the Radiants, Jan Bradley, Sugar Pie Desanto, Billy Stewart, the Dells, Laura Lee, Little Milton, Bobby McClure, Marlena Shaw and many others. He seemed to quit Chess at the end of the 60's (when the label was starting to struggle a bit). He joined Motown in the early 70's and worked there mainly with (the solo) Eddie Kendricks.

... BY ANY CHANCE ..... Are there any Soul Sourcers who saw the Steinways perform in the UK as the FABULOUS PLATTERS back in 67 / 68 ?? .... By then, Roy Tempest's scams were becoming to be known, so some top soul clubs (such as the Wheel) had mostly stopped booking his acts. So, the venues I was attending then (Mojo; Nite Owl; Skyline,Hull; Wheel) didn't have the group on. A review I saw of a show they did in the London area said that they were one of the most exiting live soul groups the guy had ever seen ... I'd love to get input from someone on here about any performances they witnessed. I'd guess Frankie Gearing would have been with them on that trip (as the real Platters were a male & 1 female mixed gender group -- see pictures of both groups in the 60's in my 1st two posts above). They must have performed a couple of the Platters 50's big pop hits and then done their Musicor stuff too.

A few more related bits ... Seems when the real group toured here in the 50's, they were billed as the Fabulous Platters but when they got back to the States after their 1958 trip to Europe, the ads called them the Flying Platters (I guess coz it was unusual for a black group to be flying all around Europe & then to & from the States as well). At that time the publicity for their trip & for a following stint at the Flamingo Hotel in Vegas was in full swing, the Laddins were doing well too & had just been signed to top booking agency, Universal Attractions. The 1st of their Oliver 45's (the biggie) got quite a bit of coverage at the time of it's release, especially in US music trade mags. Seems the publishing company (Saturday Music) put quite a bit of effort into pushing the 45 too. Their 2nd Oliver release (in Oct 66) actually got a lot more review space in trade mags than their 1st effort.

What's their US 45 worth these days ??

Guess it was made for the US beach music crowd.

Mr. Percolator was based out of Miami, where he did loads of live shows around 1968. The guy who owned the label that put out his 45's was big in the wig business.

To further muddy the waters with regard to the Steinways touring the UK as the FABULOUS PLATTERS in 67 .... The real group had toured the UK 3 times between 1955 & 1960 (they toured Europe in 1958 too, but I have no knowledge of any UK shows that year). For the vast majority of the shows during those tours, the billboards had them shown as the FABULOUS PLATTERS .... As the Glories were active from 1967, I guess that UK tour was what must have finished the Steinways off. It must have discouraged the old guys in the group & hastened them quitting the music biz.

The Steinways didn't last too long as a group under that name ... though almost the same line-up had been the Laddins for many years. The group soon morphed into the Glories, with the older guys out of the Steinways hanging up their stage suits (or so I am led to believe). I'm sure that's right as the group were formed in the mid 50's and first recorded in 57. ANYWAY ... by 1963 they were classed as old hat by most record labels and so lost their deal. By reinventing themselves as the Steinways in 66 they landed a new contract. HOWEVER, they were a big live draw in Miami still, so performed as the Laddins down there even when they were being booked as the Steinways everywhere else. Coz of their popularity in the Miami area, the radio stn DJ's down there would spin their new 45's anyway & their 2nd Oliver 45 made the charts in the city. In 67 or very early in 1968 the group toured the UK, but as the FABULOUS PLATTERS ... a fake outfit booked here by Roy Tempest.

I think that with some sellers, they add the P&P costs after they get the order from the customer ... some add a fair sum, others not so fair.

I seem to recall that the Macce soul crowd were in touch with his son ... but the 2 main men there have now passed (Glen & Jim). So don't know if any of the others kept up the contact.

The Star label 45 was from Finland and the PARK 45 from Belgium. Their hit track also escaped in Iran on a Royal label 4 track EP (anyone got a scan of that one's label ?).

I'd certainly put the likes of Chuck Jackson, Garnett Mimms, Wilson Pickett, Sam & Dave, Jackie Wilson, O V Wright, Billy Stewart, Frankie Beverly, Donny Hathaway, Al Greene, Jeffrey Osbourne & Luther Vandross up there with those shown above.

The Showstoppers seemed to be 'dead in the water' back in the US by 1969 ... they spent a lot of time over in the UK (+ in Europe) from then, playing gigs here in 69, 70 & 71. Their last 3 single release (excluding reissues) were all UK productions. The 1st of these was produced by Beacon's house producer Milton Samuels (+ the group themselves) & this escaped on Beacon in April 71. Next came yet another Beacon 45 in September 71, this being a joint effort by Milton Samuels & Biddu. Their last single release, which escaped in October 72, was produced by the same pair. By 1972, Beacon seemed to be struggling to stay afloat & their major artists were leaving the label for pastures new. None of the Showstoppers later 45's sold too well and the group (having become discouraged) returned to the US and broke up. Their guitar player, John Henry Fitch Jnr, stayed on in the music biz. He'd actually started out as one of Frankie Beverly's Butlers & had later been given his own solo 45 by Beacon back in early 69 (John Fitch & Associates). This was to reward him for the good work he was doing in the UK with the group. After his work with the Showstoppers ended, he mainly took to song writing and did well at this till the end of the 70's (the likes of Evelyn King, Carol Douglas & Wardell Piper all cutting his songs). His 1st (?) song writing success had been with "What Can A Man Do". By the time their hit was being reissued on Cream (76) & then Inferno (79), the group were just a distant memory to just about everyone back in Philly.

A few more piccy bits ... starting back in the USA ...

The best that their hit 45 did back in the US (on national charts that is) was back in May 67 ... when it was bubbling under the Hot 100 ...