Gwen Owens

by John Smith: Jan 2008

Born in Detroit, Gwen got into singing in church and at school. When she was a Junior High school pupil, she was amongst a group taken by a teacher to visit the Continental Records studio to see if they would be interested in using the young singers. They were told to return with a smaller group but even though the visit wasn’t followed up on by the school, the trip had planted a seed in Gwen’s mind. After performing at a Pershing High School talent show she was approached by Henry Smith and asked if she would be interested in recording. She stated that she would and her first release soon followed, the REM 45 "Mystery of Love". In 1964, with Henry Smith again making the introduction, she hooked up with the owner of Oncore Records and a single, "Mystery Man / Someone To Love" was issued. By this time, Gwen’s vocal prowess was gaining wider recognition although she had been ruled out as a potential new recruit to local female trio the Debonaires (her voice being considered too strong to fit into the group setting). Although signed to Golden World at the time, the company didn’t release anything on her although recently her version of “Hit & Run” was included on a UK CD.
She then had to wait until 1967 before enjoying her next release, this being the Tony Wilson produced "I Lost A Good Thing". This self-written song, cut in New Haven (25 miles north of Detroit), became the debut outing on Larry Lick’s Velgo label (backed with "I’ll Be Crying") and was soon a local hit. She and Velgo tried to build on this success with a follow up single, "Just Say You’re Wanted And Needed / Still True To You". However nearly all the copies of this 45, when manufactured, had a pressing fault that prevented them from playing correctly and so they never officially made it into retail shops. The vast majority of copies didn’t even get to leave the warehouse, being smashed up to create space for other releases. Next up came the single coupling "Make Him Mine / One Day More" which was released on the local Lau-Reen label. In 1969, George McGregor (a drummer, working in conjunction with Timmy Willis) produced some tracks on Gwen and two of these were leased to Josie Records, "Keep On Living / It Ain’t Hardly Over". In Detroit, she made live appearances with the likes of Stevie Wonder, Marvin Gaye, Edwin Starr, the Originals & Al Green.
After moving to Los Angeles in the early 70’s, Gwen worked with the O’Jays and Lou Rawls plus was a backing singer on recording sessions for Al Wilson, Billy Preston, Randy Crawford, Stanley Clarke, etc. Terry Woodford and Clayton Ivey signed her up to a production contract. At the time the pair had the idea to start up a ‘Motown South’ organization and were in negotiations with Motown. Thus in 1972, Gwen found herself as a Motown artist but recording down in Muscle Shoals with Terry Woodford and Clayton Ivey. They committed 5 songs to tape but Motown decided to pass on them all. With no plans to release any of her cuts, Motown released Gwen from her contract but Terry Woodford shopped her master tapes around. They soon secured a deal with Casablanca Records and the label released "You Better Watch Out / Everybody Needs Love" in 1973. In 1974 the single was to become Gwen’s first UK release.
Still signed to the production deal with Terry Woodford and Clayton Ivey, she had given up on recording and formed the group, Sugar and Spice. Soon after though, Woodford & Ivey escaped from their Motown deal and were ready to record her again. Gwen suggested that they give a listen to the group, which had been working on ‘The Wolfman Jack Review’. Woodford & Ivey liked the trio and a decision was made to change their name to Hot. In 1977 then Hot enjoyed a self-titled album release on Big Tree. The label must have believed in the group, as in all, they lifted 7 tracks off the album for single release. Two of these, their debut release "Angel In Your Arms" (February 77) and "The Right Feeling At The Wrong Time" (August 77) made it onto the Billboard national chart. Further Big Tree albums were released on the group in 1977 and 1979 and although Gwen never quit the group she also embarked on a solo recording project. In 1979 this resulted in Big Tree releasing a single on her, "I Don’t Want to Dance no More / Hold me Like You Never Had me" and this also gained a UK issue. All these Big Tree recordings were made down in Alabama with Clayton Ivey and Terry Woodford handling production duties.
In the 1980’s she became a session singer and also secured some acting work, landing a couple of decent film roles. Ironically just as her US recording career was coming to an end interest in her old records was reaching a peak here in the UK. In the 90’s, she worked as a pianist and singer with a number of church choirs. Today, Gwen is based in California where she works for the Holland brother’s HDH Records set-up. She still however finds time to sing on a regular basis, being a member of the gospel outfit, Melodious. This 4 strong outfit, formed in 2000, consists of Geneva Walker, Lara Meeks-Williams, Lynette Jackson and Gwen. In 2005 their CD ‘Ephesian 5:19’ was released and this features a number of strong tracks: Geneva & Lara share lead on “Take Me To A Higher Level”, Geneva tackles “Today” and Gwen herself is up front on “Nick of Time” & “That’s All I Need To Know”. The ladies will all be making the trip to the UK and will be performing a showcase at the weekender.

Morris Chestnut

by John Smith: Jan 2007

Only the most gritty of soul singers would qualify to be described as just ‘too darn soulful’. Morris Chestnut, the guy who cut the song of this name, only ever recorded a small number of tracks as a solo singer. However, he has enjoyed an extended career in the music business. Born in Tulsa, Oklahoma, he started out singing in school. He then went into the Services, being posted to Hawaii with the Air Force.
After his discharge, he ended up in Los Angeles where he met up with members of doo-wop group, the Vows. His cousin Ralph was a member of the group that had a record released on Markay in 1961, this being produced by George Motola. Via the Vows, Morris got to know Motola, who impressed, signed Morris to his L&M label. Motola cut him (using the Vows on backing vocals) on a song that Morris had written himself, “I Need Somebody” and this was released under the name of James Washington Lee. Musical styles were moving on though and the line-up of the Vows was revised, Morris became a member himself and the group hooked up with Jobete Music’s LA office team. They cut some demos of songs the team had written and these were forwarded onto Detroit to be considered by Motown’s hit acts as future recording material. If these songs were rejected, the LA team had a deal with Motown that allowed them to cut them locally and release them on a LA based label. This arrangement resulted in a Vows 45 being issued in 1964 on the Tamara label. Using the revised name of the Vowels, Morris also fronted an outfit that had a couple of singles released on the Le Bam label.
Motown hadn’t given up all interest in the Vows though and in 1965 they were signed to a deal, cut some tracks and enjoyed a 45 release on the VIP label, “Tell Me” (# 25016 -- May 1965). Promotion of this single was only half-hearted and it sank without a trace. Unfortunately, despite further tracks from the group being submitted, this was to prove to be their only Motown release and so the group moved on. Morris had already teamed up with Roy Haggins, David & Robert Jones to form the Sound Masters. Herman C Allen signed the group to Julet Records and the 45 “Lonely, Lonely” (Julet # 102) was released. Morris’ stay with the group was to be short lived however. Next he teamed up with Jones, Bledsoe & Smith to form the Attractions. The group secured a contract with Bell Records, their first release being “Destination You” (# 659) in January 1967 (also issued on Renfro). Two further 45’s followed later that year, “That Girl Is Mine” (# 674) in June and “Why Shouldn’t A Man Cry” (# 690) in September. Morris must have been extremely busy that year as around April his NS anthem “Too Darn Soulful” was released on Amy (# 981), another of Bell Record’s family of labels. None of these records enjoyed any great measure of commercial success and no more of the group’s releases were to escape on Bell. By 1971, under the revised name of the Hollywood Attractions, they had a last release on the Sugar Shack label.
It would be a while before Morris got to enjoy his next record release. This occurred in 1975, after he had teamed up with ex members of the Marvellos (Loma, WB & Modern) to form Street Corner Symphony. This new group were signed to a deal with Bang Records and working with producers Michael Zager & Jerry Love they cut a number of tracks. The label released 2 singles and the album ‘Harmony Grits’ in 1975/76 and these created enough interest in music circles to secure the group a deal with a major label, ABC Records. ABC sent the group back into the studio late in 1976 and early in 1977 this resulted in the release of their album ‘Little Funk Machine’ (ABC # AB-974). In April 1977, the album was followed by the 45 “Funk Machine”. These recordings were to prove to be Morris’ last. However by this time, UK soul fans had discovered his old solo recording, “Too Darn Soulful”. This had become a top sound due to initial plays at Blackpool Mecca and as a result the single had been bootlegged. To rectify this situation, John Anderson licensed the track and issued it on his Grapevine label in 1976 (# GRP128).
Back in LA, Morris remained blissfully unaware of the popularity of his old cut here in the UK and with the passage of time; he had moved on to lead a gospel outfit. At times this group even included old Vows member Helen Simpson amongst its number. Just over a year ago, Morris was told about the popularity of his old records. He therefore now knows that cuts such as “Too Darn Soulful”, the Vows “Tell Him”, along with the Sound-Masters “Lonely, Lonely” plus the Attractions “Destination You”, “That Girl Is Mine” & “Why Shouldn’t a Man Cry” are highly prized collectors items. Indeed, ten of his old recordings are currently available on CD; his solo outings “Too Darn Soulful” & “You Don’t Love Me Anymore” plus 2 cuts from the Vows (“Tell Me”, “Show Girl”) & the Sound-Masters (“Lonely, Lonely”, “I Want You to Be My Baby”) with 4 in all from the Attractions (“Destination You”, “Why Shouldn’t A Man Cry”, “Find Me”, “New Girl In the Neighborhood”). The continued popularity of his old recordings has finally resulted in Morris being booked to come over here to perform for his many UK fans.

Prince Phillip Mitchell

by John Smith: Jan 2007

“Something New To Do”, “Once I’ve Been There”, “How Can I Go On Without You’, “I’m So Happy’, “Forever And a Day”, “Home Is Where The Heart Is”, “Startin All Over Again”, I Don’t Do This (To Every Girl I Meet)”, “Hitch-hike to Heartbreak Road” and “Free For All”; fantastic songs recorded by great soul singers. All have one thing in common, they were written by Phillip Mitchell. His song writing abilities however have somewhat overshadowed his own efforts on record, a great pity as Phillip is also a highly talented singer.
Born in 1944 in Louisville, Kentucky, Phillip started singing at an early age. He learnt to play the trumpet, guitar & piano and by the age of 8 was already attempting to write songs. From singing in school and on street corners, he soon progressed to cutting singles with both the Checkmates & the Premiers. In 1963, the Checkmates won a Louisville talent contest, their prize of a recording session for Correc-tone Records unfortunately never materialised. Disillusioned, Phillip teamed up with Alvin Cash & the Crawlers but his new start was brought to an abrupt end when he was called up for a short stay in the military.
Next he joined a touring musical revue and eventually ended up in the recording hot bed of Muscle Shoals, Alabama. Here he introduced himself to Fame Studio’s Rick Hall who cut him on the Dan Penn / Spooner Oldham song “Keep On Talking”. Although recorded in 1966, it would be 2 years before this outing was released on Smash. In the meantime, Phillip had traveled to LA, but Muscle Shoals soon beckoned him back. On his travels, Phillip had amassed a bag full of select songs and this helped him secure a contract with Muscle Shoals Sound studio (started by the Fame musicians). It wasn’t long before Barry Becket & Roger Hawkins decided to cut him on his song “Free For All”. This was leased to Shout Records who later that year (1969) also issued his “I’m Gonna Build California All Over the World”. However Shout was slipping towards oblivion following the death of its supremo, Bert Berns, and neither single managed to make any real impact.
Phillip then penned “Starting All Over Again” for Sam & Dave but Atlantic’s A&R guys passed on it. In 1972, Mel & Tim were recording at MSS so “Starting All Over Again” was dusted off. Their version, when released on a Stax 45 entered the US soul chart in July 72, climbing to peak in the Top 5. Phillip’s own recording career had become moribund, but the success of his song resulted in Hi Records signing him. 3 singles followed, but with Hi putting all their efforts behind Al Green, Phillip’s releases were lost in the mix. He did however get to cut Beau Williams (Bo Bo Mr. Soul) for Hi on his impressive song “Hitch-hike to Heartbreak Road”. Meanwhile back at MSS, both Bobby Sheen & Bobby Womack recorded song’s penned by Phillip (in 1972 & 1973 respectively). Sheen cut “Something New To Do” with Womack including “If You Can’t Give Her Love” on his ‘Facts of Life’ album (Mary Wells also cut this). Mel & Tim’s second Stax album was released in 1974, this including “Forever And a Day”, yet another outstanding song Phillip had written.
Phillip himself signed with Event Records and the 45 “There’s Another In My Life” became his first ever chart entry in March 1975. Bobby Womack cut Phillip’s sublime song “Home Is Where the Heart Is” (Columbia) at MSS & this became a hit late in 1976. Meanwhile, Phillip had been recruited by drummer Norman Connors to handle lead vocal duties with his band. This association resulted in Phillip singing lead on the Top 20 hit “Once I’ve Been There”. At about the same time, Atlantic Records teamed Ben E King with the Average White Band for a joint project and they took Phillip’s song “A Star in the Ghetto” into the Top 30 in October 77. So Phillip, again without a recording deal, was offered a contract with Atlantic. Sent to record an entire album for the first time in his career, Phillip produced ‘Make It Good’ in ABC’s LA studio. The album (featuring all his own songs) escaped in March 78. The first single taken from it, “One on One”, charted in June. A second 45, the classy “You’re All I’ve Got in the World”, followed later in the year but didn’t sell as well.
For his next album, Phillip headed back to his spiritual home, Muscle Shoals Sound studio. ‘Top of the Line’ (June 79) again featured his own compositions with both of the resulting singles enjoying commercial success. Aided by the release of 12” remixes, “Let’s Get Wet” made the charts even before the album had hit the shelves. “If it Ain’t Love, I’ll Go Away” followed this into the national charts in August (the magnificent “I’m So Happy” featuring as its B side). Disco then took over, so Phillip let his songwriting royalty’s takeover paying the bills. Ichiban Records eventually coaxed him back and “You’re Gonna Come Back to Love” (from his ‘Devastation’ album) returned Philip to the charts. Surprisingly it would be 1991 before a follow-up album (‘Loner’) would be issued.
Interest in his back catalogue however just grew with a number of his songs gaining anthem status. Their standing here resulted in Phillip making his first visit to the UK to perform live. Further trips ensured interest in his past work didn’t wane and this encouraged Grapevine Records to raid the Muscle Shoals Sound studio tape vaults for his un-issued cuts. The 2 CDs they have released (‘In the Beginning’ & ‘Pick Hit of the Week)’ have included such classics as “Home Is Where The Heart Is”, “How Can I Go On Without You”, “Trippin On Your Love” & “I Don’t Do This (to Every Girl I Meet). So this time, when Phillip sings for his British fans, he will finally be able to claim full ownership of the superb songs he will be performing.

Dee Dee Sharp

by John Smith: Feb 2007

What kind of lady is Dee Dee Sharp? Well obviously she‘s talented but she’s also educated, socially aware, charitable & passionate. On top of all that, she’s also one hell of a singer. Born Dione La Rue in Philadelphia in 1945, she began singing in her grandfather’s church. She learnt to play the piano and to read music at an early age. This combination of skills helped her secure recording studio work (playing & singing behind the featured artist) whilst still only 13 years old. Four years on and she was ready to move forward to become the featured lead singer herself. Signed to a contract with Cameo Parkway, she initially duetted with Chubby Checker on “Slow Twisting”. This Parkway label 45 gave her a first chart entry when on 24th March 1962 this entered the national R & B Top 100. The cut would stay on the charts for 3 months and rise to make the top 3 on both the US R & B and pop charts. In fact, their duet would have got even higher had it not been for song titled “Mashed Potato Time” by Dee Dee herself. Her solo outing (a Cameo label release) had entered the charts just 7 days after “Slow Twisting” and overtook the Parkway 45 on its climb to reach the No.1 spot in late April (a position it would hold for 4 weeks in all).
Further hits followed in quick succession; “Gravy, For My Mashed Potatoes” (June 62), “Ride” (December 62), “Do The Bird” (March 63), “Where Did I Go Wrong” (February 64) & “Wilyam, Wilyam” (also February 64). Still in her teens, she was now touring all over the US and Europe on packages that also featured many of the times top hit acts. Dee Dee’s commercial success resulted in her also enjoying album releases and for one of these (1962’s ‘All the Hits by Dee Dee Sharp’) she cut a great version of Chuck Jackson’s “Any Day Now”. Being based in Philadelphia at that time also helped get Dee Dee some national TV exposure. The city was the home of the top US TV pop show, American Bandstand, and she appeared on the show twice in 1962 (15th March & 6th June) and twice again in 1963 (5th July & 5th October). In January 1966, “I Really Love You” (b/w “Standing In The Need of Love”) became her last hit single on Parkway, however she had continued to release great sides on the label during the intervening period. One of the best of these was her 1964 outing “Deep Dark Secret” which has gone on to garner a strong following all these years later. With the success of her releases & her overseas touring, her records were also issued in numerous overseas territories. For instance, she had 6 singles released on the UK Cameo Parkway label (one of these featuring “Standing In The Need of Love”).
By 1966, Cameo Parkway was no longer the powerhouse recording company it had been 4 years earlier and so Dee Dee moved on. She was signed to Atco where her first outing was the classy Jimmy Bishop / Kenny Gamble penned song “My Best Friends Man” issued at the end of the year (this was also again released in the UK). A further 45 on Atco escaped in 1967 but by that time Atlantic had decided to send her down south to record. So she was sent to work with Chips Moman in his Memphis studio. Her first single release in 1968 however was something of a throwback effort. Noting that her first hit had been a duet, she was teamed up with Ben E King on a re-working of Doris Troy’s “What’cha Gonna Do About It”. This was followed by her Memphis cut version of “A Woman Will Do Wrong”, already recorded by Helene Smith & Irma Thomas. Another Memphis effort, “Help Me Find My Groove” became her 3rd single release that year when it was issued in the summer. Unfortunately, even though her sterling vocal efforts on this song helped produce a cut dripping in emotional intensity, the record sank without trace. None of her five outings on Atco had enjoyed any sort of success and the label lost interest.
Luckily, Dee Dee still had Kenny Gamble in her corner (they had married in 1967). So he got her straight back into the studio, here she cut some Gamble / Huff songs and a 45 was released on his Gamble label. “What Kind of Lady” is an example of uptempo Philly at its very best, but it failed to return her to the charts (it was good enough though to gain a UK release on the Action label). However, family matters & back-room duties then took over and it would be 1970 before she gained her 2nd Gamble release. In 1971, Gamble & Huff did a deal with CBS that resulted in their Philadelphia International imprint coming into being. One of the labels early releases featured Dee Dee on yet another duet, this time she was teamed with Bunny Sigler on “We Got a Good Thing Going On”. The likes of Harold Melvin & the Bluenotes, the O’Jays, Billy Paul and the Three Degrees were all signed to the new label and were soon enjoying massive international hits, so Dee Dee again took a back seat ((running Huga Management).
She returned at the start of 1976 when her album ‘Happy Bout the Whole Thing’ was released on Philly International, with the uptempo title track also escaping on a T.S.O.P. label 45. Another cut lifted from the album, a cover of the pop hit “I’m Not In Love”, finally returned her to the US soul charts after a long 10 year break (April 76). She was back on the singles charts again (rising to reach # 4) in the summer of 1977, this time as a member of the Philadelphia All Stars on their charity release “Lets Clean Up the Ghetto” (she also had “Oh Child” included on the All Stars album). Her 2nd solo Philly International album, “What Color is Love” was also issued that year & tracks were also selected from this to form single releases. There was then another break until 1980 and her ‘Dee Dee’ album. “I Love You Anyway” was taken from this album in 1981 and when issued on a single (b/w “Easy Money”), this became her last soul chart entry in March 81. Her final single later that year was “Breaking & Entering” and this was so popular in clubs that it went on to top the US dance chart.
Although she hasn’t recorded for a number of years (her last effort being “What a Way to Love” in 1984), she has continued to perform live. Indeed in July 2003 she starred (along with Chuck Jackson & Smokey Robinson) in a big concert held at the Telluride Conference Centre, Colorado. She has also recently met up once again with the likes of Bettye LaVette and Jerry Butler, In fact Bettye has said “I met Dee Dee many years ago when I was with Don Gardner & Dee Dee Ford. First mistake I made was thinking I was working with the little girl voice who sang Mashed Potatoes..WRONG, She sang her ass off and frightened me". She still possesses that same vocal power. So just what kind of lady is Dee Dee Sharp – she’s the special kind.

The Masqueraders

by John Smith: Feb 2006

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 travelled 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 group’s 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 didn’t manage to make an impact (even in Dallas) however ”That’s 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 company’s 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 (5 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 ‘Bell’s 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.

The Precisions

by John Smith: Jan 2006

On November 4th,1967 the Temptations single “Its You That I Need” made it to No.20 on the US pop chart. Lower down the same chart that week (at No.71) was the Precisions “If This Is Love (I’d Rather Be Lonely”. These two Detroit groups had other records on the charts simultaneously and both were renowned for the quality of their harmony work and stage choreography. In fact most Detroit club patrons considered the Precisions to be the only group that came close to the Temptations in terms of showmanship.
The Precision’s origins date back to a Detroit High School in the late 1950’s. Michael Morgan, in conjunction with fellow students Willie Norris, Fred Stockley and Paul Merrit, formed a quartet that took the name, the Precisions. Fred lost interest but Mike believed the outfit had potential so recruited Arthur Ashford to replace him. The group started to perform in school variety shows and soon felt ready to approach a record label. Via George McGregor and Cody Black, they successfully auditioned for Mike ?’s D -Town set-up. The group had penned two songs and Cody helped develop these to the point where they were ready to be recorded. These songs, “My Lover Come Back” and “I Wanna Tell My Baby”, were cut (with Willie on lead vocals) in D-Town’s studio (Mike’s house) and were released in the summer of 1964 (D -Town # 1033).
They added Ron Davis to their line-up but it was almost a year before they enjoyed their second 45 release in July 1965 (“Mexican Love Song / You’re Sweet”; D -Town # 1055). Neither of their two records made much impact, as a result Willie Norris became disillusioned and quit. Dennis Gilmore tried out for the group and was enlisted. They failed to land a new recording deal with Golden World and so Paul Merrit also quit. Billy Prince (an old school friend of Dennis’) was recruited to replace him, the new line-up rehearsing and recommencing live shows. After one of these they were signed by Sidra Records. “Such Misery” was cut (Billy singing lead) and released in 1967 on the Drew label. The 45 didn’t break out of Detroit, however the follow up, “Why Girl” c/w “What I Want” (with Billy on lead vocals and the Funk Brothers providing the musical accompaniment), did. “Why Girl” made the local top 10 before breaking into the national soul charts in May, where it stayed for 7 weeks rising to reach # 28. The original promotional copy of this single had featured “What I Want” coupled with “Sugar Ain’t Sweet” (featuring Dennis on lead), however copies of this demo were destroyed due to a pressing fault. Luckily a few copies escaped being pulped as “Sugar Ain’t Sweet” went on to become one of their most popular cuts in the UK.
The group’s next outing, “If This Is Love (I’d Rather Be Lonely)”, was to become their biggest hit. The writers, Valvano, Coleman & Bassoline, cut the backing track at Magic City studio (Lou Ragland playing tambourine on this) before any artist was selected to add their vocals. The trio offered the track to the Precisions who added their vocals (Billy handling lead almost exclusively by now) and the single was released in Sept 1967. It shot straight up the local charts, entered the national soul chart on 30th Sept (where it rose to reach No.26) before crossing over onto the pop chart. The group’s 5th member, Ron, was dropped from their live shows because he couldn’t learn their stage routines and he quit soon after. Robert Lowe was their musical director / guitarist and following this hit, they had their own 6 piece backing band for a time.
They toured extensively on the back of “If This Is Love..” (playing the Apollo in New York twice and touring on a bill topped by Jerry Butler). They signed with Phil Walden's booking agency and via Phil met Otis Redding in Cleveland in December 67. At the time arrangements were being made for them to accompany Otis on a British / European tour but Otis was killed in a plane crash later that day and this scuppered those proposals. They did however get to tour / play gigs with a number of Stax, Volt & Atco artists and also undertook a show in Jamaica with Joe Simon. Further 45’s followed on Drew, the self written “Instant Heartbreak” being released early in 1968 and next up came “A Place” cut with the Brothers of Soul (Bridges / Knight / Eaton). This became their last national chart entry in June 68, reaching # 50. In 1968 Atco Records signed them, their initial outing “Into My Life / Don’t Double With Trouble” being issued in January 1969. For their next recording session, Jerry Williams was in charge and he opted to cut them at Hit Factory studios in New York. The teaming quickly gelled and recorded "You're The Best (That Ever Did It)” which had been written specially for the group. However, "New York City" was selected as the A side of their next single. This, when issued in April 1969, proved to be their last release.
The group still toured but split later that year after a disagreement. They returned to Detroit but shortly afterwards, Michael, Dennis & Billy all quit the music business (by coincidence they all now live in California). Arthur Ashford stayed in the business but died of cancer in November 2003. The group’s recordings weren’t forgotten though and a couple of unissued tracks ("You're Mine" & "Send Me A Sign") even escaped from the vaults a few years back. It is now over 35 years since the group performed but the 3 remaining members have been persuaded to reform and recently they have been back rehearsing their old numbers. I’m sure they will pull out all the stops to ensure that their reunion performance at the Prestatyn Weekender is well up to their old standards.

Lou Ragland

by John Smith: Jan 2006

Singer, guitarist, song writer, record producer and studio engineer Lou Ragland is a hero on both the Northern Soul and Funk scenes across the world. Ever since copies of his 1967 Amy 45 "I Travel Alone" found their way across to the UK in the early 70’s, this has been a highly prized and much sought after record. Luckily for Lou, at about the same time this was finding favour on the UK Northern Soul scene (1973), Warner Brothers released his cut "Since You Said You'd Be Mine". This was also taken to the hearts of his British fans and Lou’s cult status was already being established.
Born and brought up in Cleveland, Ohio, Lou’s introduction to the music business was via the Sahibs vocal group. He then took up playing the guitar and at 16, joined a band that secured a local club residency. Despite his young age, he became leader of this outfit, Lou Ragland & the Bandmasters. Remaining with them for 7 years, it was with them that he enjoyed his 1st release, “Never Let Me Go / Party at Lester’s” (Way Out 45; 1962). Lou had a short stint as lead singer with Billy Ward & the Dominoes in 1965, but he wasn’t content just being a performer. He hung out in Cleveland recording studios, learnt the tricks of that trade and was appointed staff engineer at Way Out Records (1965 - 1967). Here he worked as engineer (and then producer) on sessions for the Springers, Norman Scott, the Sensations and Bobby Wade. Lou cut "I Travel Alone" at Way Out in 1967 and this was leased out to Amy Records. In 1969, he cut a 45 that was released on Way Out under the name Volcanic Eruption (“Red Robin / I’ve Got Something Going For Me”). That same year he founded Saru Records and cut the likes of Michael Bell and the Out Of Sights. He also worked with the Imperial Wonders on the track “Just A Dream” which was released on Daywood. In 1968 he had been appointed road manager for the O’Jays (a position he held for 2 years) and he would open the show for the group on most of their engagements.
By 1970, funk was on the ascendancy and Lou soon established himself as just about the top local exponent of this music style. His 1971 single on Co-Co Cleveland, “Good For The Gander / We Had True Love ” was followed later that year by the 7 track ‘Hot Chocolate’ album. This group soon established a solid reputation and kept very busy performing live. Coming off a long tour in 1973, the group went into Cleveland’s Agora club where a live recording of their stage show was made. They then went into the studio to cut one of their best original songs “Since You Said You’d Be Mine”. A local music business entrepreneur got hold of a copy of the cut’s master tape and shopped it to Warner Brothers Records. They liked what they heard and licensed the track, but released it under Lou’s name.
The UK Hot Chocolate group were breaking into the US market at that time. To overcome any confusion that would have ensued, the Cleveland outfit agreed to change their name. They adopted Seven Miles High as their new identity but bad feelings built up over the next months and so Lou split from them. In 1974, he started a new record label, SMH, and released the single “What Should I Do / Understand Each Other”. However Lou had become accustomed to being in a group and so in conjunction with Norman Scott, he formed Wildfire. The group had the single, “Tend To Your Business” (Norman Scott being featured on lead vocals), released on SMH in 1975. Before long Lou was back in the studio cutting himself again. This time he assembled many of Cleveland’s top musicians and the ensemble cut enough tracks to fill a proposed album. This LP ‘The Conveyor’ was released on SMH in 1978 and it contained 8 tracks including the original (longer) cut of “Since You Said You’d Be Mine” and a reworking of “What Should I Do”. Lou still worked with other artists, one of these being Jan Jones whose “Independent Woman” was released on his Great Lakes record label (1979).
In 1980 Lou relocated to Las Vegas (via LA) and he has since become a regular feature in the area’s casino lounges, performing with both the Ink Spots and Touch of Silk. In 1982 he put out a 45 on his new Casino label, Lou Ragland & Great Lakes Orchestra “Didn’t I Tell You”. Shortly after he released this, he was booked by Edwin Starr to tour the UK on the RicTic Revue. Lou fetched copies of his recent release with him and this proved a wise move as the track immediately became another favorite here. In 1986 Lou put out a gospel album, ‘Prime Time Gospel’ (Spirit Records) which featured a number of good tracks (“Born Again”, “Welcome To Heaven”, Thank You Father”). This was followed in 1988 by his ‘Romancing You’ EP (Casino Records) which included “Making Love”, soon to go big on the UK 2-Step scene. He then undertook a second UK tour in 1990, playing events such as the Caister & Morecambe Weekenders. His ‘Until I Met You’ CD was issued in 1996 and more recently he has recorded the reformed Soul Notes. On his 2 previous UK visits, Lou’s showmanship and professionalism were much in evidence and he regards these trips as being high points in his long music career. To say that he is overjoyed to be given the opportunity to perform here once again is truly an understatement.

Nolan Porter

by John Smith: Jan 2006

Many soul singers follow a well trodden path to establish a career in the music business. They start out performing current soul hits in local clubs. Here they are discovered and offered a recording deal that results in commercial success. They work hard to establish a solid identity for themselves and go on to enjoy a successful career which spans many years. Nolan Porter isn’t such a person. He broke onto the recording scene in the early 70’s using numerous different names, Nolan, N F Porter, Frederick II and Nolan Porter whilst he appeared on the top US music TV show ‘Soul Train’ (January 1972) using the all-encompassing name Nolan F Porter. To further complicate his career path, he had hooked up with a foreign born record producer / song writer better known for his work with rock / pop acts and had members of experimental rockers, the Mothers of Invention, playing on his first recordings.
Nolan was born in 1949 in Los Angeles and his family soon realised he possessed real talent as a singer. He started to write songs when only 6 years old (his first successful composition being “I Like What You Give”). Initially, he developed his singing skills in church before developing them further in school. He quickly developed a strong love of all aspects / types of music, learning to play the viola and falling in love with the piano at the age of 12. At 15, he performed for the first time in a night club, this being at the Players Ring Theater in Westwood, California. He followed this was a performance at the Hullabaloo Club at the Aquarius Theater and then secured a gig at De Paul’s Club in Hollywood whilst still only 17. After graduating from Los Angeles High School, Nolan attended Los Angeles City College where he started singing in a madrigal group together with Gabriel Mekler’s sister.
Israeli born Gabriel Mekler was mainly working as a record producer for ABC-Dunhill at that time and was known for his work with the likes of 3 Dog Night, Janis Joplin and Steppenwolf. Via his sister, Nolan was introduced to Gabriel Mekler and an audition was arranged. At the time, Nolan was only singing classical music but he selected Donovan’s hit song “Sunshine Superman” as his audition piece. Even though Nolan classes his performance as being lame, Gabriel heard a potential soul singer in him and insisted he start listening to recordings by the likes of Otis Redding and the Rolling Stones to become more familiar with the style of singing. Nolan followed his instructions for the next 2 years and by 1969, the pair were ready to start recording. Time was booked at Wally Heider’s Studio in Hollywood and with the likes of Jimmy Carl Black, Roy Estrada and Lowell George (ex of the Mothers of Invention) handing the backing, at least 10 tracks were laid down. The majority of the songs cut were written by Nolan himself but a cover of a Stax number (“Iron Out The Rough Spots”; written by Booker T Jones / Steve Cropper / David Porter) was included to give the proposed album stronger R&B credentials. One of the songs, his “What Would You Do If I Did That To You” would later enjoy much success when covered by Steppenwolf. Another artist who linked up with Mekler at that time (1970) was Rick James. Due of this connection, Nolan & Rick ended up undertaking some performances together. These shows taking place at the Troubadour in LA and at the Corral nightclub in the Los Angeles hills.
Gabriel Mekler decided to start his own record labels and place Nolan’s material on these. Thus in 1971 he opened Vulture & Lizard Records, based on Sunset Boulevard in LA. Other artists he signed to the label and wrote for / produced included the likes of Clydie King and Paul Humphrey & the Cool Aid Chemists. Paul Humprey’s 1st single on Lizard climbed straight up the charts and so Nolan was recruited to work with his outfit. Nolan wrote the song “Funky LA” which Paul and his group cut. When this was released as the A side of his follow-up 45, it also made it into the top 50 of the national soul charts in August 71. By that time Nolan’s own ‘No Apologies’ album had been released (Lizard # 20102) and this created enough interest for additional tracks to be cut for proposed single release. Thus, his first 45, “I Like What You Give” (Lizard # 1008), was released early in summer 1971. This quickly started to garner radio plays and soon broke out across the USA, making its entry on the national soul chart in July. The cut would remain on the national chart for 8 weeks, climbing to reach No. 40. Nolan had also cut a reggae style track and it was decided this had chart potential. “Groovin Out On Life” when released on the Vulture label (# 5002) under the name Frederick II, shot straight onto the charts in Nov 71(peaking at # 25 & spending 10 weeks in all on the national chart). Within days of “Groovin Out On Life” entering the charts, “Keep On Keepin On” (written by Nolan and Richard Flowers) was released as a single on Lizard (# 1010). Under the name N. F. Porter, this also became an instant national soul hit in December, making the top 40 and spending 7 weeks on chart.
Lizard / Vulture Records releases enjoyed a lot of commercial success, but the company was having to grow too fast and the people running it didn’t have the same goals. The problems it faced became too great and the labels were closed down. Before the company folded, Nolan went into the Sound Factory studio and cut some new tracks, one of these being a song titled “If I Could Only Be Sure”, on which Johnny Guitar Watson played. With Mekler’s help, Nolan was signed to a deal with ABC Records and the tracks to fill a 2nd album were assembled (some of his earlier 45 & LP cuts being re-used). “If I Could Only Be Sure” was released on a single (ABC # 11343) and this entered the charts in February 73 where it stayed for 8 weeks reaching # 29. The success of this single and his ABC album resulted in both being released in the UK (the single forming Probe # 580). In the US, ABC lifted “Ooh Baby” off the album to form a follow up single but this failed to chart. Nolan wasn’t to cut any more tracks for ABC. He did however, in conjunction with Gabriel Mekler, work on tracks for Billy Preston and Wilton Felder.
Although his solo recording career had ended, Nolan continued working in LA nightclubs as a musician / comedian. He also performed in clubs across the States and in such overseas locations as Singapore, China, and Bali. He also worked as a music therapist and continued to perform in churches and synagogues across Southern California. Later he would team up with Luanne Hunt and they performed live together. Nolan became politically active, using his music as a tool to work with both children and adults. In 1999 after hearing Patrice ‘Candy’ Zappa (Frank Zappa’s sister) sing, they became acquainted and he developed a project with her. They performed this show (‘Once A Legacy’) at the House of Blues in Hollywood and at the Simi Valley Cultural Arts Center. With Patrice, he recorded a CD of politically satirical songs called “Condoleeza, Condoleeza in 2004 and the same year, the pair contributed vocals to the ‘Neon Fire’ album.
Even though the release of his solo recordings only spanned a period of 2 years, the quality of his work has had a lasting influence down the years. “Keep On Keeping On” was covered by a UK indie group and has since influenced / been sampled by further British outfits. More recently top UK singer Paul Weller cut a new version of “If I could Only Be Sure”. Both of these recordings have remained firm favorites with UK soul fans and so it is only fitting that Nolan will finally get the chance to perform both songs live on a visit to these shores.

Dean Courtney

by John Smith: Jan 2006

Many singers cut tracks for a creative team that initially secured them a recording contract with a local independent label. That label then released a single on them and only if this found a receptive audience and started to gain significant radio air-play would major labels show any interest. A major may then step in, license the 45 for national distribution and sign the artist to a deal direct with them. Dean Courtney had the good fortune not to have to follow this uncertain and tortuous route. On three occasions, his talent was acknowledged directly by the A&R guys at major labels and he was signed straight to a key contract with them. Unfortunately that’s where his luck ran out, as each time, circumstances went against him and proposed album projects failed to reach fruition. Much of his studio work was never to reach the ears of the record buying public and thus his chances of launching a prolonged commercially successful recording career were much curtailed.
Born in 1941 in Birmingham, Alabama (his mother’s hometown), Dean spent his formative / school years bouncing between there and New York (his father’s hometown). Music was always his main interest, the likes of Ivory Joe Hunter, Percy Mayfield, Nat King Cole and B B King influencing him in the 1950’s. He started to sing in school in his early teenage years, graduated to performing solo in NY nightclubs such as the Baby Grand & Smalls Paradise before progressing to appearances at the famed Apollo Theatre. When down in Birmingham though he helped form a group with Clarence Kendrick’s (Eddie’s brother) and Johnny Williams (Paul’s brother). Eddie and Paul, together with Kel Osborne, went on to form the Primes (who evolved into the Temptations) and when Kel wasn’t around, Dean would take his place. His first live gig in Birmingham was at Dubolds Old Stable, a huge venue in the central downtown area of the city. Here the country’s top acts would perform on a regular basis, supported by the best of the local acts. Dean would also travel over to Detroit to perform, his wide circle of connections helping to secure some good openings for him.
Dean would eventually chose New York as the base from which to launch his professional music career and this decision set him on that path as a solo singer. By 1965, he had been signed by Mercury Records and was cutting an album under the guidance of Quincy Jones, Bobby Scott and Shelby Singleton. Unfortunately for Dean, before the album was completed, the team splintered, Quincy relocating to LA and Bobby Scott leaving Mercury. This left Dean in limbo, so he obtained a release from his contract and was immediately signed to RCA by Bob Cullen. His initial single for RCA, “We Have A Good Thing” was released in August 66 and this was followed (early in 67) by “I’ll Always Need You” (RCA # 9049). Again there was talk of an album but even quality cuts such as “Today Is My Day” failed to gain release (a situation remedied years later in the UK by Kent). Remaining with the same production team (John Mack, Ray Fleming & Jimmy Wisner), he moved to MGM but his only release was the classy double sided single “Love You Just Can’t Walk Away / Betcha Can’t Change My Mind” (MGM # 13776). Of course he cut additional tracks, but goodies such as the self written “The Joke Is On You” remained in the vaults.
Through out this period Dean continued to perform live. Quite frequently he would undertake tours across the US to promote his records. Many of these shows were organised by radio DJ’s in the New York, Philadelphia, Baltimore and Washington areas and playing these helped get him radio exposure. In New York, the most powerful DJ’s were Frankie Crocker, Al Jackson and Herman Amos (working at radio stations such as WBLS & WWRL). Dean continued to pen new songs and also took on more production duties. In the early 70’s, he joined Paramount Records as an artist but also took on A&R duties. In this capacity he signed Cleveland group Sly Slick & Wicked to a deal with the label in 1972. He continued to record himself, laying down tracks for yet another proposed album. Unfortunately he was only to secure one release on the label, the single “It Makes Me Nervous” in 1973.
Dean continued to write songs and record artists, working many times with old friends like Artie Fullilove but most of this work remained unissued. His solo outings remained strong favorites with his British fans and this eventually resulted in him coming to the UK. On his first visit in July 99, he performed at Lowton and also put in an appearance at the Dell’s show in Stoke. His next trip included a performance at London’s 100 Club but on this visit he will get to enjoy the appreciation of the enormous audience that his enduring talent has long deserved.

Eddie Parker

by John Smith: Jan 2005

Eddie Parker began his recording career in conjunction with Lorraine Chandler and the pair formed such a strong working relationship that they are still friends today. Today Eddie is very involved with the church, luckily his ties with Lorraine have resulted in him again agreeing to accompany her on a visit to perform in the UK. Lorraine has nothing but the highest respect for Eddie’s vocal prowess; in fact she thinks he had one of the greatest R & B voices ever recorded.
Eddie was from Saginaw (a town 85 miles distant from Detroit), but in 1966 he travelled to the Motor City to cut the tracks that were to form his first release. Hooking up with Jack Ashford & Lorraine Chandler he cut two songs written & produced by them, “I’m Gone / Crying Clown” and these were issued on the tiny Aware label. The label needed one of its 45’s to sell well and when this failed to happen, unfortunately it folded.
In 1968 when Jack Ashford split with Mike Terry thereby ending their Pied Piper Production company, he promoted Lorraine Chandler and they started to build a new roster of artists. The pair remembered the good work Eddie had put in for them when recording “I’m Gone” and so he became the first recruit to their new roster (this also included the likes of Billy Sha rae and Al Gardner). The new Just Productions operation moved into 6097 Whitewood, an old 2 storey house. A kitchen was converted into the recording studio, this task requiring a major soundproofing exercise to bring the room up to scratch and even the creative staff (writers & musicians) were utilised to complete this task.
Teamwork was given top priority but creativity was also very important in helping overcome the company’s financial and logistical shortcomings. Artists, musicians and songwriters on the roster were all encouraged to contribute ideas during sessions to ensure the highest quality product possible was created. Eddie Parker didn’t actually live in Detroit itself, but even he would travel down to Detroit every week to ensure he was available for studio duties when required. With Jack Ashford’s connections, Motown studio musicians often played on Just Production’s sessions. At other times, members of Billy Sha rae’s Soul Congress would form the studio band. They were a tight outfit that had honed its skills working live, this experience made them ideally suited for studio sessions.
Eddie’s next single was the first release from Ashford Records in 1968. Lorraine Chandler handled production duties on the session and she ensured that the Soul Congress & Ebonees (the female backing group that she led) attacked the song with a zeal that matched Eddie’s gritty vocal style. Whilst “Love You Baby” failed to make any real impact sales wise in the Michigan area at the time, the cut was to go on to become a top anthem on the UK Northern Soul scene in the late 1970’s. Its popularity here grew to such an extent that the track was licensed for release on the Grapevine label in 1979.
Having found no success with their Ashford imprint, Lorraine and Jack teamed up with Ernest Kelly for their next venture. The threesome formed the Triple B label (again based out of 6097 Whitewood) and the label’s first 45 release was Eddie’s “I Need A True Love” (backed with his old cut “Crying Clown”). Even though the company was finding difficulty in getting its releases played on the radio in their home city, Triple B had big plans and they soon secured a tie up with a European label, Googa Mooga (unfortunately Lorraine can no longer recall how this came about). Via this link, Eddie got to enjoy his first record release outside of the US with his Triple B single also being issued on Googa Mooga in France.
In 1971 Just Productions struck a deal with the Jay Walking label and a further 45 by Eddie was released, “Can’t You See What You Are Doing To Me / Do The Choo Choo”. Jack and Lorraine wrote both of these songs, Lorraine tailoring them with Eddie specifically in mind. She knew that even if a tune was quite sparse and its words simplistic, when Eddie got hold of a new song he would enhance it. He would utilise vocal inflections and improvise during the actual recording session thereby ensuring the resulting cut would sound sophisticated and complex even though the song itself was quite basic. A dynamic live act, Eddie was also soon known on the Detroit club scene for his high energy live performances.
By 1975 Jack & Lorraine had tied up with locally based Prodigal Records. The first release resulting from this partnership was Eddie’s 45 “Body Chains” and this secured more exposure than his earlier releases. When Jack Ashford relocated to Los Angeles, he took some master tapes containing unissued tracks with him and was soon shopping these for possible deals. An agreement was struck with DJ Magnificient Montague for Eddie’s “But If You Must Go” to be released on his Beverly Hills based Miko label. Back in Michigan, Eddie was totally unaware that he had yet another 45 out on the market, however the 45 wasn’t promoted in any way and so only a handful of copies sold. In similar fashion to many of Jack’s recordings though, this cut has gone on to find critical acclaim and is now accepted as being one of the best deep soul tracks ever cut in a Detroit studio.
Eventually the popularity of Jack’s “Love You Baby” in Britain spurred Lorraine back into action. In 1980 she formed her own RJ Record label and put out yet another single by Eddie. Unfortunately “She / Dreams” failed to connect with the record buying public. Undaunted the pair once again teamed up with Ernest Kelly and this resulted in Eddie finally securing his first LP release. The 9 tracks that comprised this album project had actually been recorded over an 8 year period, with the earliest of them actually dating back to 1972. For this reason the album, released on Blues Gallery Records, was titled ‘The Old, The New, The Blues’. Lorraine helped out on lead vocals on a couple of the tracks featured on the album, as she teamed up to duet with Eddie. Both of them still had a high regard for “Love You Baby” and no doubt heartened by the song’s success in the UK, this was one of the two songs they chose to sing together (the other being “Can’t Get Enough”). Cutting “Love You Baby” as a duet was an inspired decision as the new version has an added dimension to it. Another song re-worked for the album was “But If You Must Go”, however the vocal intensity displayed by Eddie on this version of the song is somewhat diminished from the original take.
Eddie accompanied Lorraine Chandler on visits to the UK in the mid 1980’s and mid 1990’s and on these he performed his popular recordings. However he was by then heavily involved in church matters (as he still is today), so he no longer performed live in the US .We have therefore to be thankful for Lorraine’s efforts in once again persuading Eddie to come out of his self imposed retirement to perform his old secular cuts for his many British fans.

Lorraine Chandler

by John Smith: Jan 2005

Its a rare occurrence for musicians to receive recognition for their achievements many years after the event. However due to the success of the film ‘Standing In The Shadows of Motown’ that companies 1960’s studio band, the Funk Brothers, have at last been granted full endorsement for their ground breaking work. Members of this small elite group included Jack Ashford, Joe Hunter and Johnny Griffith. In addition to their backing work for Motown, these musicians had aspirations to emulate Berry Gordy’s success themselves. In these endeavors they linked up with another native of Detroit, Lorraine Chandler. Lorraine is a true all-rounder when it comes to expertise in the numerous skills involved with the recording industry. She started out as a singer and songwriter but before long was also overseeing record sessions, producing tracks herself, handling label admin, finance and management duties before she finally got to run her own label.
Lorraine got into singing whilst still at school. She was a good student and after graduating high school, she went onto college. Her family knew Otis Williams' (of the Temptations) family and Funk Brother Eddie ‘Bongo’ Brown lived next door. Lorraine also had friends who worked at Motown and so it was only natural for her to dream of working for Berry Gordy’s empire. So she quit college (she would however return later to obtain a degree in business) and via her connections at Motown she met Jack Ashford, this proving to be an important event. The pair began to work together at just about the same time as Jack was looking to set up his own operation. Lorraine’s initial entry into the professional music business came in 1966 when having written “I’m Gone” in conjunction with Jack, they cut the song on Eddie Parker (later, they would also have Billy Sha rae record the song). Jack was instantly taken with Lorraine’s ability and so convinced her to sign with his & Shelley Haimes fledgling Pied Piper Productions. Another co-composition, “I’ll Never Forget You”, was also selected by local big hitter Don Davis to be cut by the O’Jays at about the same time.
Next she stepped into the spotlight herself. In conjunction with the likes of Mike Terry, Uriel Jones, James Jamerson and Jack Ashford she went into Detroit’s United Sound Studios to cut the Ashford / Terry song “What Can I Do” for Jo Armstead’s Giant Records. This was soon garnering local radio plays in the Detroit and Chicago areas and came to the attention of RCA’s promotion men. RCA had no base in Detroit but were keen to buy into the city’s musical success, so not only was Lorraine signed up but so was the entire Pied Piper Production set-up. RCA reissued her first single for national distribution and soon followed it up with a second 45, “I Cant Hold On / She Don’t Want You”. They required Pied Piper to cut a number of different acts and so in quick succession sessions were organised for the Cavaliers, Metros, Nancy Wilcox, Willie Kendrick, Sharon Scott and Dynamics. By the end of 1966, RCA were getting the team to use their Chicago recording studio to cut tracks and thus Lorraine found herself in there for a session. With the Metros helping out on backing vocals, she laid down another Ashford / Terry song, ”I Cant Change”. Ray Monette (another Funk Brother and half of the duo, Mike & Ray) remembers playing on just about all of the Pied Piper Productions as he was the house guitar player at the time. Thus he played on Lorraine’s recording sessions and also got to write a few songs with her. Ray remembers Lorraine as a very sweet classy lady with lots of talent, drive and boundless energy. Her enthusiasm and dynamism would rub off on those around her and as a result, everyone would deliver their best work.
The pressure of the workload at Pied Piper quickly became very intense. A deal had also been signed with Kapp Records to cut tracks on Freddy Butler and Cleveland based group the Hesitations. Lorraine’s song writing skills were constantly being called upon and she contributed “I Fell In Love” and “There Was A Time” for Freddy’s session plus “Soul Superman (a national Top 50 hit single in January 1967), “She Won’t Come Back”, “You’ll Never Know”, “Wait A Minute” and “Clap Your Hands” for the Hesitations (she would write the lyrics). She then came up with “”Time Changes Things” for the Metros (who also cut a version of her earlier composition “I’ll Never Forget You”) and “She’ll Be Leaving You” for Willie Kendrick. Lorraine continued to compose songs but also had to undertake studio and label backroom duties in addition to producing sessions with Jack Ashford. Together, the pair quickly built up an impressive catalogue. However she didn’t abandon studio singing entirely as she would regularly get to sing backing vocals on other artists sessions.
Pied Piper / Just Productions next took on the 4 Sonics and released a version of “Tell Me Your Mine” on Sepia in 1968, the group’s “Where Are You” following on Triple B in 1970. Billy Sha-rae cut “Do It” (an Ashford / Chandler composition) for Hour Glass in 1969 plus a version of Lorraine’s song “Crying Clown”. Another Triple B single release again featured “Do It”, this time though it was an instrumental take on the song by Johnny Griffith. Sandra Richardson was also signed up to join the production team’s roster and Lorraine wrote “The Ring” which she cut in Detroit’s Pac 3 studio. The track was leased to Buddah who issued it on a 45 in 1971. Another Sandra Richardson effort, “Stay Here With Me” was to follow on Ernest Kelly’s local Inter Soul label. Next up, Lorraine and Jack were recruited to cut some tracks for the Master Five label on Don Gardner and Baby Washington. The whole ensemble (including many of the Funk Brothers) was assembled in Motown’s B studio and tracks such as “Lay A Little Lovin On Me” and “Is It True I Fell In Love Again”. Baby Washington also cut Lorraine’s composition “I’ve Got To Break Away” as a solo effort for release by Master Five. Next the pair worked with the Smith Brothers and the coupling of “Paybacks A Drag” and “There Can Be A Better Way” was released by Soul Dimension in 1974. The Jay Walking label then hired the pair to work with Ray Gant & the Arabians and this collaboration produced the deep soul classic “Don’t Leave Me Baby”.
1975 saw the release on Blaze of Jack’s own version of “Do the Choo Choo” plus releases on Prodigal by Eddie Parker and Soft Touch (“After You Give Your All, What Is There”). But that same year, Jack relocated to Los Angeles and with the loss of her longtime production / writing partner it would be a while before Lorraine returned to the recording studio. However return she did when, in conjunction with Ernest Kelly in 1980, she worked on a session to complete Eddie Parker’s ‘The Old, The New, The Blues’ album. This project also saw a welcome return to lead vocal duties for Lorraine herself as she got to duet with Eddie on a couple of tracks, “Can’t Get Enough” and “Love You Baby”.
The continued popularity of her old RCA cuts with British Northern Soul fans resulted in her making 2 trips to the UK to perform. The first visit in the mid 1980’s was followed by another in the mid 90’s to appear at the Yarmouth weekender. Coincidentally at about the same time that she was here to perform in Yarmouth, Adey Croasdell gained access to the RCA tape vaults in New York. Here he unearthed a number of unissued Pied Piper Production tracks from the likes of the Metros, Sharon Scott, Cavaliers, Willie Kendrick and Dynamics. Amongst these cuts were two gems from Lorraine herself, the James Bond inspired “You Only Live Twice” and “Mend The Torn Pieces of My Heart”. “You Only Live Twice” instantly became an anthem, getting plays on the Northern Soul and mod scenes across the UK and Europe.
So almost 40 years after her recording career kicked off Lorraine (who only enjoyed the release of 6 tracks at the time they were originally recorded) has 5 tracks currently available in the UK on popular compilation CD’s. The ‘staying power’ of these precious few recordings speak volumes for their quality. Like many of the Funk Brothers efforts behind the Motown classics, her work has truly stood the test of time.

James Bell

by John Smith: Jan 2005

James Bell is a man who’s more than happy with the hand that life has dealt him. For someone who was in the US Army in the 1960’s and followed this with a period in the cut-throat record business, this shows great strength of character. James just moved on, successfully took up plumbing and subsequently retired early to return to his first love, music. This was a happy coincidence as despite a short recording career based in his hometown of Indianapolis (hardly a hub of activity in that business), James & the Highlighters cuts made such an impact that they are still sought after today.
James was born in Leland, Mississippi in 1938 but raised in Indianapolis, Indiana from the age of 11. The Highlighters started out as a self contained jazz group in an Indianapolis high school but most members were called up to join the services. However they made a promise to reform the group on their return home. The members started to return in 1968 but were short of the original drummer and also wanted a new vocalist. James was recruited as their new lead singer with Dwane Garvin becoming the drummer even though he only played keyboards and sax at the time. Garvin bought a drum kit and taught himself to play, this resulting in the unorthodox style that was to become such a trademark sound for the group.
The Highlighters started playing cover versions of hits at dance venues around Indianapolis. They would learn new songs each week and were soon earning almost $1000 for their Thursday, Friday and Saturday night’s work at the 20 Grand nightclub. Their musical style evolved and they quickly developed a hard funk edge. With all the live work, the group soon started to develop and perform their own songs and by early 1969, they were ready to record a couple of these. James had written “Amazing Love” (his first ever composition) and with $300 he paid for a session at the small rudimentary Midwest studio. Despite the problems caused by the studio’s size, the instrumental “Poppin’ Popcorn” and the soulful “Amazing Love” which featured James on lead vocal were cut. The group had intended to release the 45 themselves but instead allowed local DJ and entrepreneur Paul Majors to issue it on his Rojam label. 1000 copies of the single were pressed up in Nashville and the record made a big impact from the first day Majors played it on radio station WGEE. The track raced up the station’s chart and was soon vying for the # 1 position. In all the band had to have 3000 copies pressed up just to satisfy local demand. Paul Major was a ruthless businessman though and so the group broke with him and took on their own management.
A second single was required to maintain the impetus they had been created locally, so the group formed their own Three Diamonds label (based out of James’ home at 2851 N LaSalle). Another original song was needed and so James, during a break from his day job on Ford’s production line, found the inspiration to complete “The Funky 16 Corners”. This uptempo funk item was quickly developed into a 2-part extravaganza that would spread over both sides of their 45. The new single again did well, DJ Spider Harrison at WTLC championing this. The record raised the group’s profile to such an extent that they were no longer considered just an opening act. Plans were in fact made for them to undertake their own headlining tour of the US & Canada.
Soon though the Highlighters old promise came back to haunt them. Porkchop, the group’s first drummer returned from the Marines and expected to step straight back into the line-up. A stand-off quickly developed as the original members sought to enforce their old decision whilst James favoured retaining Dwane as the group’s drummer. Dwane’s distinctive style formed the backbone of the Highlighters sound and James thought it made no sense to force him to leave. James and Dwane were outnumbered though and Garvin was out of the group. James found himself unable to accept the decision and within weeks he had also quit. However before James left them, The group found time to cut a few additional tracks. Their final release on Three Diamonds in 1969 was to find the Highlighters backing James on a couple of soulful vocal numbers, “Tryin To Get Chosen” plus the more uptempo “The Love Of My Girl”. The revised Highlighters line-up eventually headed off on their proposed tour with James and his new band also going along.
Shortly afterwards though James quit the music industry and went into plumbing and property development. Through his skill and hard work, James had made enough to retire on by 1978. After a short break, he was however persuaded to return to the building trade. It would be the 1990’s before James returned to the recording scene. In 1993 and 2000 he went into the studio to work with Jimmy Coe. He was by now aware of the popularity of his old recordings and so formed the 6 strong Naptown Players (who include Dwane Garvin). They were soon in the studio themselves, cutting both old and new songs James had written. Three Diamonds issued ‘The Message To The World’ album in 2002 and this included new versions of his old soul anthems, “Amazing Love” and “The Love Of My Girl”. A second CD album, ‘Lets Get Funky Tonight’ soon followed.
James has performed the old funk anthems a number of times for UK audiences in recent years but he hasn’t, up until now, had the chance to perform his Northern Soul classics. He attended last years Prestatyn as a guest and was so impressed that he has returned at the first opportunity to sing “Amazing Love” and “The Love Of My Girl” for the assembled masses at the Weekender.

Troy Keyes

by John Smith: Jan 2005

In the mid to late 1960’s as the UK mod craze evolved into a burgeoning soul scene, the only way to get to hear US soul tracks was either via cover versions performed by British based outfits or on UK released singles issued by legendary labels such as London or Stateside. Thus in 1968, it would be a common occurrence to first dance to the new 45 cut “Love Explosion” before watching Geno Washington and the Ram Jam Band perform the popular “Que Sera, Sera” live. These two songs had a common link unknown to most of the dancers at that time, that link being Troy Keyes.
Born in Pantego, North Carolina in 1940 Troy’s love of music developed while singing in his local church choir. At age 10 he moved to Brooklyn, New York but continued to sing. During these formative years Troy would hang with the crowd developing Doo-Wop harmonies on street corners. In the mid 1950s he became a member of Brooklyn based group the Starlites. In no time they had entered and won a talent contest and this netted them a recording contract. The resultant single "Missing You" (Peak) has gone on to become a much sought after collectors item. From the Starlites, Troy briefly joined acclaimed New York outfit the Velours (who would evolve into the Fantastics). Troy got to sing lead on just one of their cuts, “I’ll Never Smile Again” (Cub; 1958), but made a good friend in group member Richie Pitts.
Troy was introduced to Bob Crewe by the Starlite’s Clifford Rice and with Bob he cut “The World Without You” (Atco) and this was released under the name of Mitchell Keyes. With the multi-talented Bob Crewe encouraging Troy, his confidence grew and he quickly honed his vocal and writing skills. Troy then teamed up with Clifford Rice, Jimmy Williams and Bobby Hoggard to form the group the High Keyes and they hit big with their first release “Que Sera, Sera” (Atco). A top 40 pop chart hit across the USA in 1963, the track also charted in Canada and was issued in the UK on London. In addition to recording their own tracks, the High Keyes also provided backing vocals in the studio for artists such as Lennie O’Henry. Fate though took a hand and Troy was drafted into the US forces. However he still utilised his vocal talents, entering and winning the All Army talent contest as a solo singer.
On his return from the forces, Troy reformed the High Keyes along with Jimmy Williams and new members Calvin Williams and Bubbles Moore. Under the supervision of George Kerr in 1965, they recorded their only Verve release, “Living A Lie”, but this failed to chart. Later however this would become a highly prized item with Northern Soul fans. Impressed with George Kerr’s studio skills, Troy kept in touch and this was to pay dividends. In late 1967, George oversaw a session at New York’s ABC studio at which the backing vocals and music track for a song he had written were laid down. All he needed now was the right lead voice to finish it off. Remembering Troy’s earlier efforts for him, George gave him the lyric sheet for “Love Explosion”. Troy learnt the song and just three weeks later he was in the studio completing the track in just one take. On its release in January 1968, the record instantly started to gain massive radio airplay and made it onto the US charts. Industry politics reared their ugly head though and this prevented the single from fully delivering on its true potential. ABC persevered but Troy’s follow-up 45 “No Sad Songs” (written by Sammy Turner) and a duet he cut with Norma Jenkins, “A Love Gone Bad” both failed to make any significant impact.
Troy’s profile dropped for a while but then his self penned & produced “If I Had My Way” (VMP) started to gain attention on the UK Northern Soul scene. Unfortunately this favourable reaction came too late to improve its chances of securing commercial success back in the USA. Around this time, Troy met singer Tasha Thomas, who made a good living organising backing singers for recording and advertising industry studio sessions. Troy became a member of her team (along with the likes of Carl Hall, Ray Pollard and Sammy Turner) and the steady workload proved financially rewarding. Troy also turned his attention to theatre work and auditioned for a part in “The Wiz”. He went to college to gain a qualification in music arrangement and undertook theatre work whilst there. He still continued to write songs though and penned “You Rescued Me” which coupled with the Kenny Williams / J.R.Bailey song “See No Evil” formed his last ever single release, a 45 issued in 1973 on Chumley Records.
Troy soon returned to performing live, singing lead vocals for the Crest's on the Oldies circuit. He moved on to join the Wanderers in the late 1970’s, once again working with Ray Pollard. However Troy became disillusioned with performing and wanting a more stable existence, took a job in telecommunications. Although semi-retired from singing, he would still take the occasional studio assignment. On one such session he sang backing vocals with Cissy Houston on tracks Peabo Bryson cut for Bang in the early 1980’s.
So after over 35 years British soul fans will actually get to witness Troy, the original lead singer on “Que Sera, Sera” and “Love Explosion”, sing here live. The old saying if something is good enough, its well worth waiting for springs to mind.

Phil Perry

by John Smith: Nov 2003

Today, Phil Perry is a much sought after singer; both in the recording studio and for live shows. He has been a solo artist for many years now and has cut numerous classic tracks that have been issued both on his own releases and on other artist’s albums (for which he was recruited to provide lead vocals). However, back in the 1960’s, when he made his start in the business in St Louis, he was very much a group member. The group with whom he made the start on his long musical career was the Montclairs.
Phil was born in Springfield, Illinois in January 1952 and started out singing in church. In his early years, Phil had it tough and he would turn to music as an escape. The Montclairs as such began to come together at an East St Louis high school in the mid 60’s. George McLellan and Kevin Sanlin had been born in East St Louis and they got to know Phil at school. The original foursome in the group were Clifford ‘Scotty’ Williams, George, Kevin and Phil. Keith Frye, who had moved from his hometown of Alton to St Louis, spotted the 4 strong group of youngsters when they won a talent show. He took on their management and invited his brother David (Frye) to become their 5th member in 1967 (in part to act as a steadying influence on the other guys who were still quite young). In no time the extended line-up had honed their harmonies to an acceptable standard and they built up an act based around the current hits of the likes of the Temptations, Spinners, Chi-lites and Delfonics. Keith set up a recording session with the local Arch Record label that was run by Nick Charles, a DJ at St Louis radio station KXOK.
The Montclair’s Arch tracks were cut, under the supervision of Keith Frye and Oliver Sain, in Nick Charles basement using 4 track equipment. A single “Hey You Don’t Fight It / Never Ending Love (Arch 1305) was released and the 45 was play-listed on the local R & B radio stations (KATZ, KWK and KXLW) with one DJ in particular, Spider Burke, getting behind it in a major way. 'Hey You Don't Fight It" wasn’t the first song Phil had written but it was the first to be published (Kevin writing the music, Phil doing the lyrics & melody). Before their Arch 45 was released, the group didn’t perform any original music live, even though Phil had already been writing songs for about 3 years. In their early days they used a number of local bands to back them up. One of these was the Delrays and at that time the group included a young Mike McDonald (on drums) in their line-up. By 1970 the Montclairs had signed with Oliver Sain’s Vanessa Records and a single was issued “All I Really Care About / Is This For Real” (Vanessa 109). This did well enough locally to get them a deal with Paula Records who re-issued the 45 for national distribution in April 1971.
It was to be over a year before the group enjoyed their 2nd Paula release, but when “Dreaming Out Of Season” hit the shops in May 72 it started an unbroken run of commercial success that was to last 15 months. The track made No.1 in St Louis and rose into the Top 40 on the national R&B chart. The follow up, “Begging Is Hard To Do / Unwanted Love”, issued in September, again went to # 1 in St Louis and made the Top 40 nationally (“Unwanted Love”, a dance track written by Phil and Kevin Sanlin went on to find favour with UK soul fans). “Prelude To A Heartache” came next (in June 1973) and once again it made the national charts and went to # 1 locally. By now the group was basing itself out of Washington DC but it’s members still retained homes in St Louis. They were touring and playing shows with the likes of the Miracles, O’Jays, Rufus, Spinners and Ohio Players.
“Hung Up On Your Love” (Paula 390) followed in September 1973 and although this is the track that’s popularity has endured with British fans (it was released here by Contempo in October 74) it failed to make it onto the US national charts. This track (and the later release ''Make Up For Lost Time'') was cut in Shreveport whilst all the group’s earlier efforts had been recorded in St Louis. The group suffered a blow at this time as Scotty Williams was drafted into the services and they were reduced to a quartet. They continued on however and the hit situation was rectified in March 74 when “Make Up For Lost Time” made it onto the national chart. It rose slowly to peak in the Top 50, staying on the chart for 18 weeks in all. The prolonged sales of this single sparked foreign interest and in April it became the group’s first UK release, when it was issued on the Contempo label. The UK label further raised the group’s profile here by releasing their LP ‘Dreaming Out of Season’ a few weeks later. The group’s 9 track album had initially been released back in the USA. The writer’s credits on it serve as a good indication to the group’s artistic driving force, Phil having a hand in every track but one. Back in the States, “Baby You Know I’m Gonna Miss You Part 1 / Part 2” (Paula 409) was issued and went straight to # 1 in St Louis. The single entered the national chart in November 74, climbing to # 40 and staying on the chart until February 1975.
The group were on the crest of a wave by early 1975 and so did not renew their contract with Paula as they wanted to sign with a bigger company. Mercury were keen to pact the group and so offered its four members an advance of $5000 each if they would sign to cut an album. Unfortunately the group thought they could get a bigger advance and demanded more. Mercury weren’t keen to pay out a larger sum and instead agreed a deal with the Dells in the summer of 1975 and dropped their interest in the Montclairs. By then, valuable time had been wasted and the group were no longer at the top of any major labels signing wish list. For the next three years they tried to get a new national recording deal, even undertaking a final recording session together in 1976. A deal wasn’t forthcoming though and their last live show was on Valentines Day 1977 at the Regal Room in East St. Louis.
With no new recording deal forthcoming in 1978, the group officially split up. Phil wasn’t willing to abandon his musical career and so in 1980 he went to California and landed a deal for himself and Kevin (as a duo - Perry & Sanlin) with Capitol. The pair performed together for a few years but didn’t manage to repeat the success of their first single release “Just To Make you Happy” (Capitol 4852), a national Top 100 chart entrant in June 1980. At Capitol, Phil and Keith worked with ex-Independent Charles Jackson and Phil still classes the episode as a profitable and learning experience. The duo also worked together as songwriters and freelance producers, but Phil eventually went solo when Kevin Sanlin decided to take a job in the computer industry. Initially Phil kept busy by doing voiceovers for commercials (Ford, Coke, etc) and he also undertook similar duties for TV shows (Miami Vice) and films (Arthur2).
He soon established a wide reputation for himself as a solo singer though and was recruited to sing as a guest vocalist on numerous jazz artists albums. Eventually he secured himself his own solo recording deal back with Capitol and went on to enjoy 3 hit single releases for the label in 1991. The first of these, “Call Me”, made it right up to the top of the R&B chart with the subsequent releases doing almost as well. “Amazing Love” peaked in the Top 20 and “Forever” attained a Top 40 position in the fall. The album these tracks were lifted from, ‘The Heart of the Man’, also made it onto the national US charts.
A 2nd album was cut for Capitol but the label failed to release it. Tracks from those original sessions however were to see the light of day following a deal Phil secured with MCA / GRP in 1994. With the label he had two further national hit singles, “One Touch” and “If Only You Knew” (this had earlier also been a hit for Patti LaBelle) which went Top 50 after entering the chart in February 1995. The ‘Pure Pleasure’ album is just about Phil’s personal favourite release and like the singles that came from it, it also made the charts. For some strange reason the next track to be taken from the album “Love Don’t Love Nobody” was released on the Blue Thumb label (July 1995) but this didn’t affect its success and it also secured a Top 50 chart placing. Phil’s expertise at reinterpreting other artist’s tracks was again demonstrated on one of the album’s best tracks, his version of Earth, Wind & Fires “After The Love Has Gone” but for some reason this didn’t gain a release on a single. Once again however the personnel at his record label changed and so Phil had to move on yet again.
In 1998 he signed with Private Music and they released the ‘One Heart, One Love’ album that was critically acclaimed and contained a brilliant duet (with wife Lillian) “Do Not Disturb”. This was followed in 2000 with the equally excellent ‘My Book Of Love’ album and next came the album that he believes comes closest to capturing the real Phil Perry. This, the ‘Magic’ CD was released by Peak Records in September 2001. It proved fortunate that Phil was delayed in Chicago the day before he was due to perform at the album’s release showcase, as the date of this planned performance was September 11th and the venue was New York’s World Trade Centre. The album illustrates to full effect Phil’s vocal prowess and also highlights his song writing skills with 8 of the 11 tracks featured being his own compositions. Two of the remaining 3 cuts on the album are both Isley Brothers’ songs, ”Living For The Love of You” and “Groove With You” and these were chosen as they provide the perfect platform for his voice.
Indeed Phil has, over the years, established a reputation as one of America’s top vocalists, a reputation he richly deserves. In addition to his own recordings he has appeared on tracks cut by the likes of Anita Baker, Gerald Albright, Bill Withers, Jerry Knight, Luther Vandross, Patti LaBelle, George Howard, James Ingram, Peabo Bryson, Patti Austin, Howard Hewett, Najee, Quincy Jones, Roberta Flack, Beau Williams, George Duke, Miles Jay, Al Jarreau and Harvey Mason. His writing talents have also been recognised with the likes of Aretha Franklin, Lee Ritenour and Michael White all cutting his songs.
With Westside having released a CD of the Montclair’s Paula recordings a couple of years ago plus the more recent Grapevine 45 release of “Hey You Don’t Fight It”, the profile of Phil’s old group has never been higher in this country. Phil is still keen to garner further solo chart success but qualifies his hope with the proviso that he isn’t willing to compromise his own musical ethics just to gain a ‘flavour of the month’ hit. So over 35 years into his musical career, the time is truly opportune for Phil to visit the UK to undertake a live show. I’m sure the skills of one of contemporary music’s great vocal interpreters will be demonstrated to great effect for the appreciative Prestatyn crowd.

Bobby Hutton

by John Smith: Feb 2004

The legendary US TV music series Soul Train commenced its syndicated broadcast slot back in October 1971 and the show has continued to enjoy top viewing figures throughout its 30 plus year history. To have been one of the live acts featured on the very first national edition of the show broadcast therefore is a feat to be proud of. One of the 4 acts to appear on that show was Bobby Hutton and even today, Bobby still makes his living by singing.
Bobby, a native of Chicago, began singing at the age of 5 and had established himself in the business to such an extent that he landed a recording contract (under his real name of Harold Hutton) with the famous local Chess / Checker organisation in 1965. Although his single “Lucky Boy” failed to chart, one lucrative job he landed while with the company was to partner Fontella Bass on tour and perform Bobby McClure’s vocal parts on the pair’s earlier hits. His profile continued to grow through the late 1960’s and when Josie Jo Armstead and her husband Mel Collins set up their Giant Production company in 1967, they signed Bobby to a contract. His initial release via Giant , “Ohh Baby” b/w “That’s How Heartaches Are Made” (a version of Baby Washington’s big hit) was issued on the Blue Rock label in 1968. Blue Rock was being phased out by mid 1969 though and so his next release, “Come See What’s Left Of Me”, was transferred across to the Phillips label. In 1969 Bobby took part in a live show in Cleveland organised by local DJ Ken Hawkins. Also on the bill was New York based Tony Drake (then promoting his current release "Lets Play House") and the two guys hit it off from the instant they met.
Mel Collin’s preference when producing was the blues, but Josie Jo wanted many of Giant’s artists to sound much less bluesy and so she had taken a few of them (Bobby, Ruby Andrews, Garland Green, etc.) to record in Detroit with Mike Terry. As a result, Bobby’s next 45 coupling “I’ve Got A Memory / I Can’t Stand A Woman Two Timing A Man” had major input from Mike and his team of Motor city studio musicians. By 1970, Tony Drake had been signed to Chicago based Brunswick Records and so was spending a lot of time in the Windy City. While there, he renewed his friendship with Bobby and the pair would hang out together at the hotel Tony was booked into during his stay. Other Brunswick artist’s were also booked into the same hotel when in town and on the odd occasion, the pair would spend the day in the company of the great Jackie Wilson. Bobby had further releases on Phillips in the early 70’s with “You’re My Whole Reason / Lonely In Love” being a particularly strong pairing to be released back to back. It was while signed to Phillips that he gained the distinction of being selected to perform on the 1st nationally broadcast edition of the Soul Train TV show. At the time there was also talk of Gene Chandler producing some tracks on Bobby (Gene was signed to the associated Mercury label in 1970 and had been allocated his own label to run, Mister Chand) but unfortunately nothing came of this proposal.
By 1973 Bobby had signed with ABC Records and they released his first album, ‘Piece of the Action’. This included his Northern Soul anthem “Lend A Hand” which was recorded under the direction of Dee Erwin. Initially the record company failed to see the track’s potential and didn’t lift it from the album to form a 7” release. The song soon became a firm favorite with UK soul fans though and it’s popularity continued to grow here over the ensuing 5 years. Eventually the UK arm of ABC Records bowed to the pressure and released the track in Britain on a single. The longevity of some of his recordings impressed ABC back in America and so they tried again in 1974, releasing the McKinley Jackson written & produced cuts “Watch Where You’re Going / Loving You, Needing You, Loving You, Wanting You”.
A major yardstick of a singer’s talent is the way his old recordings withstand the test of time. By this criterion, Bobby is up there with the very best of them. Many of his 1960’s and 1970’s recordings are still being spun at soul nights on a regular basis and original 45’s such as “Come See What’s Left Of Me” change hands for up to £200 a copy. In recent years, Bobby has made a living performing on the American casino circuit, but a trip to perform at the Cleethorpes Soul Weekender in 1999 brought home to him just how revered his old recordings are with soul fans from around the world.
No higher accolade can be bestowed on a singer than praise from one of his peers. Tony Drake recalls Bobby as being a smooth sophisticated artist with his own original style. In Tony’s opinion Bobby is one of a kind, in a class all by himself as a singer. As Mr. Drake is no slouch himself when it comes to vocal talents, this high praise must be well deserved.

Cody Black

by John Smith: Feb 2004

Cody Black must have a very agreeable personality as many of his associations which started out being business related have blossomed into long lasting friendships, no mean feat in a recording industry where rip-offs were an everyday occurrence. He grew up in Cincinnati only a stones throw from the King Record’s headquarters / studio. As a result of this, he got to know King’s owner Sid Nathan at an early age and their friendship would prove to be useful many years later. He cut his first record, “Come To Me (Girl) / Stranger Than A Fairy Tale”, while still in Cincinnati and it was released there on the Pamela label around 1961. Not too much later though he took the decision to relocate to Detroit.
This almost instantly proved to be a good decision as he hooked up with Mike Hanks and recorded the Rudy Robinson / Mike Hanks written song “These Chains of Love”. This was released on D-Town Records in 1964 (the song would later be cut by J J Barnes). A year later Cody enjoyed his second release on the label when “Mr. Blue” was released. The 45 didn’t really sell that well at the time but subsequently it has become a much sought after single with soul collectors around the world. “Too Many Irons In the Fire” came next and once again Mike Hanks and Rudy Robinson were heavily involved with it’s recording. Whilst at the label, Cody also schooled some of the other acts, the Precisions being amongst these. Cody’s follow up was allocated a release under the Wheelsville logo, “”I Will Give You Love” being another Mike Hanks effort and by this time Cody and Mike had forged a strong friendship. Later that year (1966) Cody moved across to yet another new record label, having “It’s Our Time To Fall In Love” released on G.I.G. Once again this 45 has become a highly prized collectors item and changes hands for up to £1500 a copy.
Another label change came in 1967 when in conjunction with his friends Rudy Robinson and Grant Burton, Cody wrote and produced both sides of a single released on Groove City, “Because You First Loved Me / The Night A Star Was Born”. The established pattern wasn’t broken by his next release, “Going, Going, Gone” escaping on Ram Brock in late 67 / early 1968. 1968 was to prove to be a busy year for Cody, a song called “I’m Slowly Moulding” had already been cut on another artist but its producers weren’t happy with the vocalist’s efforts. They asked Cody to give the song a run through and he quickly nailed it. A label had to be found who would issue the track and so Cody made use of his old friendship with King’s Sid Nathan and an approach was made to that organisation. King took up the offer and the track was soon made available to the record buying public. The Ram Brock label decided to try again, as it reissued Cody’s old cut “The Nite A Star Was Born”, this time coupling it with “Life Goes On”. A 3rd Ram Brock 45 made it into the shops in August 1968, with the release of “Love Like I Never Had”, again written and produced by the Black / Robinson / Burton (BRB) team.
By the late 60’s Cody’s writing had become accomplished enough for Mike Hank’s to use a couple of their joint compositions on other artists. The Magictones recorded “Together We Shall Overcome” for Mahs and Toby Lark cut “Lots of Hearts” for USD. Cody was by now quite an established figure on the Detroit recording scene and his status helped him gain many bookings as the opening act on live shows by big stars (Gladys Knight & the Pips, etc.). This action must have raised his profile sufficiently to interest Ted White (Aretha Franklin’s husband). He had just started his own label, Ston-roc and Cody was signed to it. A single was released in 1969, “I Still Love You / Ice Cream Song”. Unfortunately it again failed to chart although “Ice Cream Song” would become a hit in March 69 for another Detroit recording outfit, the Dynamics. Releases on Ston-roc must have created some sort of attention though as Capitol Records signed the company to a national distribution deal. Two 45’s by Cody were issued on Capitol under the deal, “I’m Sorry” (written by Tony Johnson of the duo, Tony & Tyrone) in mid 1970 and “Ain’t No Love Like Your Love”.
Cody then took a short break from the recording scene but bounced back by starting his own label in 1977. He formed Renissance Records and put out “Keep On Trying / Steppin On Toes” that year. By now, Cody was so steeped in and accomplished at the tasks associated with song writing, producing and singing that he handled all these duties himself. The following year the label issued a 2nd single, “What Goes Around”. This was to prove to be Cody’s last release as although he continued to record right through to the mid 80’s, none of his later efforts were to escape from the tape vaults. Today, over 40 years after he first started recording, Cody still has a very good reputation as a live performer and his old recordings are regularly included on compilation CD’s of in-demand old soul classics. I’m sure his UK fans will agree that he has lost none of his vocal prowess when he finally makes it over here to perform live.

Melvin Davis

by John Smith: Jan 2004

Born in Georgia in 1942, Melvin Davis only really got into music in a big way during a stint he undertook in the US Navy. When he got out of the service, he decided to make his way in the Detroit music business and was soon recording R&B songs for the local Jackpot and Fortune labels (1962/3/4). Next he joined the Jaywalkers, a group which also included David Ruffin, Steve Mancha and Tony Newton among their number. Melvin and David would alternate as lead vocalists but Melvin not content to just be a singer, taught himself to play drums during this period. He would also hang around various Detroit studios and started to write songs. These were soon being recorded by the likes of Edward Hamilton, Ann Perry and Johnnie Mae Matthews.
Melvin enjoyed a brief stay with Ke Ke Records and would also visit Mike Hanks' and Lou Beatty's recording studios on almost a daily basis. He cut his popular Wheel City single, “Find A Quiet Place (And Be Lonely)”, for Mike Hanks in 1966 and also utilised the Golden World studio to record his own composition “I Must Love You” which was issued on Don Davies' Groovesville label in 1967. Earlier he had cut a duet for Groovesville in conjunction with Steve Mancha, but unfortunately for the pair, their version of “I Need My Baby” failed to gain release. Still composing to great effect, Melvin also cut a demo version of his song “I’m The One Who Loves You” that would later find major favour with UK soul fans via Darrell Bank’s version released on Volt. He then cut some sides with Dennis Coffey and Mike Theodore that were leased out to the Mala label in 1968 (part of the Amy Bell Records regime of New York). The first of these was “Save It (Never Too Late)” a song he composed with old friend Steve Mancha.The follow up, “Love Bugs Got A Bear Hug”, was again self-written and this cut became his first UK release later that year when EMI included it on their various artist album ‘Bell’s Cellar of Soul -- Volume 2’. Melvin further expanded his musical accomplishments when in 1969, he arranged E.J. and the Echoes Diamond Jim outing “Put A Smile On Your Face”.
By 1969, Holland-Dozier-Holland had quit Motown and started their own Invictus / Hot wax labels. The trio had already assembled a whole team of good Detroit based musicians / singers and started laying down tracks for subsequent release as early as 1968. A track featuring Steve Mancha, "She's Not Just Another Woman", was one of the first recordings they had overseen but it wasn’t actually released, as by the 8th Day, until May 1971. It instantly became a big hit, racing up the US soul chart be reach No. 3 and also making the top 20 pop chart as well. The company had already assigned Steve Mancha a place in their hit group 100 Proof (Aged in Soul) and so Melvin was recruited as the 8th Day’s new lead singer. The eight strong outfit (hence their name) quickly cut some additional tracks and these did feature Melvin on lead vocals. In all 5 singles and 2 albums were released by Invictus on the group with “You’ve Got To Crawl”, “If I Could See The Light” and “Eeny-Meeny-Miny-Mo” all making the US charts.
The group however broke up in late 72 as the Invictus organisation started to collapse, but the label still managed to release 2 singles simply credited to Melvin. Neither of these enjoyed any great commercial success and so he took the job as drummer with the Miracles and toured all over with the Motown group for a period. But Detroit was still his home and so he returned there to start up his own Rock Mill record label in 1975. Following his initial single on the label, the 1976 coupling “Double or Nothing / You Can’t Run Away”, he was to have a number of other significant releases on the imprint over the next 15 years. The most sought after of these is his 1983 group version (as Charisma) of “Let Love In Your Life”, a song he released again under his own name in 1991. For me though, the cream of his Rock Mill recordings remains the un-issued modern soul dance gem “Thinking Of You”.

Baby Washington

by John Smith: Aug 2003

Born in South Carolina, Justine ‘Baby’ Washington’s family soon relocated to New York. Here she started singing in church and graduated from this to lessons in a rehearsal studio in Harlem. Whilst here, she was spotted by Zell Sanders who was looking for replacement members for the Hearts. Justine was duly hired as a member of the group and as she was the youngest, the others nicknamed her ‘Baby’ and the name just stuck. In no time at all, Baby was also being cut as a solo artist for Zell’s J & S label (1956/7). Her last release on the label was also leased out for release on Chess but by that time (1959) she had moved on and was signed to Neptune Records. This label released a number of her singles over the next 3 years, before she moved on yet again, for a short stay with ABC records.
Next up she hooked up with Juggy Jones’ Sue record label. Here she hit real pay dirt in April 1963 when “That’s How Heartaches Are Made” entered the national R&B chart. The track soon rose to reach the Top 10 and also made the top 40 of the US pop charts. Her follow up, “Leave Me Alone” also faired well on both charts but “I Can’t Wait Until I See My Baby’s Face” released in March 1964 saw her now billed as Justine Washington (although when released in the UK on Sue, the record label still referred to her as Baby Washington). 1964 saw another chart entry, this time with “It’ll Never Be Over For Me” and her last chart entry (top 10 R&B) on Sue followed the following summer, “Only Those In Love”. The Sue set-up was sold to United Artists in 1967 and so Baby found herself having releases on their Veep label next.
Happier times should have returned in 1969 when she was signed by Atlantic to their Cotillion label. The company decided a new recording approach was required and so dispatched her down south to record in Muscle Shoals. Her releases on the label however were to enjoy little commercial success, even her version of “Breakfast in Bed” failing to chart. Next up came a return to the Chess label, but although she cut a number of tracks for them only one single was ever released. Family affairs took over for a while and it wasn’t until 1973 that she returned to the recording studio. Signed by Clarence Lawton to his Master 5 label, she cut both solo tracks and duets in conjunction with Philly based Don Gardner. The couple worked well together and the subsequent recordings were released both on single and were also gathered together on the album ‘Lay A Little Lovin On Me’ (1973). Some of these tracks had been recorded in the Motown studio in Detroit with the legendary Funk Brothers providing the musical accompaniment. Further singles followed on the Sixth Avenue, Avi and 7L labels later in the 70’s and yet more on Lawton and Master 5 in the 80’s but a proposed solo album on Master 5 failed to make it into the shops. She was then allowed to drift out of the recording business but made a fleeting reappearance in 2000 when some new tracks by her were released on the Sue CD ‘Just Baby n’ Me’. So the lady hasn’t enjoyed chart success since January 1975 when her Master 5 single “Can’t Get Over Losing You” made the national R&B top 100 in the States. However this hasn’t prevented her from making many acclaimed live appearances, a number of these being in conjunction with her old recording chum, Don Gardner. New recordings are still planned and I only hope these get to see the light of day in the near future.

Lou Pride

by John Smith: Jan 2003

Born in North Chicago in 1944, Lou (George L Pride) was raised on gospel music and got into singing in his local Baptist church. However it was only after watching B. B. King perform that he decided to follow a singing career himself. Soon after being posted by the army to serve in Germany, Lou started his first group. He then set up a second outfit after he was transferred back to Fort Bliss, El Paso in Texas.
By co-incidence, El Paso was the base for Suemi Records, a label owned by Kenny Smith and Bill Taylor. In 1970 Lou met Kenny Smith and his group was soon in the studio cutting the self-penned James Brown inspired “There’s Got To Be Someone For Me”. The track was quickly released on a single, but was credited to the Groove Merchants. As Suemi had no real distribution system, the 500 copies that had been pressed had to be sold mainly at live gigs. At the time Lou was still travelling back to Chicago on a regular basis and he even had a girlfriend there. After she had complained of loneliness, Lou was inspired to pen the song “I’m Comin Home In The Morning”. In 1972 Lou went back into the studio and cut the song, once again 500 copies of a single being pressed up but this time it was his name that appeared on the record’s label. 2 further singles followed in 1973 but this time the tracks were cut in Memphis (Kenny Smith and Bill Taylor having been hired to work there by Willie Mitchell). One of these 45’s featured Lou’s version of James Brown’s “It’s A Mans Man’s World” on its B side and this has gone on to become Lou’s 3rd highly sought after single release. All the tracks he cut at Royal Studio in Memphis featured the famous Hi Rhythm section plus the Memphis Horns on the backing instrumentation.
Lou was still based in Texas and although Bill Taylor continued as his producer and he still recorded in Memphis, Lou’s next 2 releases (singles issued in 74 and 75) appeared on new labels (Albatross and Gemco). By 1976 Lou had moved back to Chicago and things had gone quiet for him. His mother seeing his frustration, sent him to see her pastor. By coincidence the pastor was a long time friend of Marvin Yancy (Natalie Cole’s husband and an ex-member of the Independents). A favour was called in and shortly afterwards the Marvin Yancy produced “Been Such A Long Time” was released on the Onyx label. Lou then took another break from recording until 1980 when he hooked up with Gordon DeVores Albuquerque based Black Gold label. “Very Special”, a track cut with producer Kevin Yancy (Marvin’s brother), was released as a single on both Black Gold and the Chicago based WMB label. “Very Special” then became the title track of Lou’s first album release, this again hitting the shops on the Black Gold label. Lou (now living in Albuquerque) continued touring, however he had to wait until 1988 before he was to enjoy his next release. In that year, his version of the Falcon’s “I Found A Love” was issued as a single on Black Gold and the album it was lifted from (“Gone Bad For A Very Special Reason”) soon followed.
Black Gold was having major problems getting any distribution and so when Curtis Mayfield showed interest in Lou’s work, the album was licensed for release on Curtom. Thus in 1990, the re-titled album, “Gone Bad Again”, hit the shops, as did a single featuring “Gone Bad Again”. Curtis had further plans for Lou and enough new tracks to fill an album were cut. However things were far from perfect for Curtis (he had been crippled in a stage accident in 1990) and his record company and so plans for a 2nd Curtom album on Lou were shelved. Curtis didn’t want to stand in the way of Lou’s career however and so the tracks were eventually used on an album (‘Love At Last’) released on the re-activated WMB record label. This album, released in 1995, garnered a few Blues awards and put Lou’s name back out there before the public. Another CD album, ‘Twisting The Knife’, was issued on Ichiban in 1997 and this was followed with ‘I Wont Give Up’ on Kingsnake / Icehouse in 2000. Last year Severn Records (out of Maryland) put out Lou’s ‘Words of Caution’ CD that features tracks cut in the labels Crownsville studios. One of the strengths of the cuts is that they feature real musicians playing real instruments. In fact the 6 strong horn section, featured on the album, was led by the legendary Willie Henderson. A couple of tracks off this CD found particular favour with UK modern soul fans, these being the Tyrone Davis styled "Bringin’ Me Back Home" & "It's A Good Thing".
So over 30 after Lou’s most in-demand records were released he will finally get to sing live for his many UK fans. The majority of these fans will only ever have owned a bootleg copy of his Suemi 45 “I’m Coming Home In The Morning”, a record that neither Lou nor his record label ever derived any financial gain from. However when he sings the song on the main stage at Prestatyn, I’m sure the reaction of the crowd to the opening bars will put any thought of the injustice involved completely out of his mind.

Don Gardner

by John Smith: Jan 2003

Don Gardner was born and raised in North Philadelphia. As early as the late 1940’s he had already started to get up and sing in clubs and after successful engagements in Atlantic City and Washington, he started to make an impression in his hometown. These exploits led to a deal with Gotham Records. He joined Jimmy Shorter’s band but after a 45 for New York based Bruce Records (“How Do You Speak To An Angel” -- 1953) enjoyed some success, he was able to put his own band together. An early member of Don’s band was hammond wizard Jimmy Smith, who was to go on to make his own mark in the music business. Further record releases followed for Don through the 1950’s for labels such as Bruce, Cameo, Junior, Deluxe and Kaiser.
In 1960, New Jersey based keyboard player Dee Dee Ford joined his band and the pairing were signed to a record deal by Fire Records. The duo were soon enjoying a national hit when “I Need Your Loving” was both a R&B and pop hit in September 1962. They followed this up with “Don’t You Worry” which was a smaller US hit and was, in 1968, to become the first release on Dave Godin’s legendary UK record label, Soul City. Further releases on the duo followed on the Fire, KC, Red Top and MOC labels and in 1963 Don enjoyed a solo release, “Son, Oh Son”, on Luther Dixon’s Ludix label. Other solo efforts quickly followed on Jubilee (“I’m In Such Misery”, “I Don’t Know What I’m Gonna Do”, etc) and then he appeared on vinyl with the Alteers for a G-Clef 45. But he was still continuing to undertake both recording and live work in conjunction with Dee Dee Ford. The pairing undertook tours of Sweden in the summers of 1964 and 65. On both occasions they recorded in the country, having albums released on the Sonet label. A Swedish only 45 coupling their versions of “Shotgun” and ”Heatwave” reputedly exists but must be a very rare item.
Back in the US, Don covered Titus Turner’s “Dog Eat Dog” which was issued on Tifton Records and he then teamed up with Gloria Toote's New Jersey based Tru-Glo-Town organisation. The 45’s “Lets Party” (T’n’T) and “I Can’t Help Myself” (Spectacular) preceded his first release on the actual Tru-Glo-Town label in 1966, “My Baby Likes To Boogaloo”. This cut enjoyed regional success starting in November 66 and was followed up with “Somebodys Gonna Get Hurt / Ain’t Gonna Let You Get Me Down”. The Tru-Glo-Town studio / warehouse complex burnt down & so Don never did get the royalties he was due as he was told the company had gone out of business. However, previously unissued T-G-T master tapes survved the blaze as in early 1968, a Tru-Glo-Town production, “I’m A Practical Guy” was leased to Verve Records. Don’s experience and long track record was recognised in other ways as he moved into label management with companies such as Botanic Records (1968). Here he fetched in an old friend, Jerry Williams, to work with the likes of Little Charles & the Sidewinders. His own next release though was on the Mr. G label out of New York, this being the classy “Your Love Is Driving Me Crazy”.
His profile in Chicago resulted in him sending copies of his new cuts to his friend, local booking agent, Jimmy Vanleer. Jimmy had just started his Sedgrick / Cedric Record label & so, without Don’s knowledge or consent he put some of Don’s tracks out on 45. Jimmy’s record company was just finding its feet, so although Don’s releases, “Cheating Kind” and “Is This Really Love” were top quality outings, they didn’t enjoy any commercial success. It is believed Jimmy Vanleer was also the linkman in the process that resulted in Don having a release on Monk Higgin’s Chicago based Sack label as Don didn’t even know of Monk, never mind send / lease tracks to him.
At Xmas 69, Don decided to give up touring. Her got into construction & was hired by Curtis Mayfield to build him a pool at his Atlanta house. The pair got on so well, Don was hired to be Curtis’s road manager, a job he retained for much of the 70’s. However, by 1972, Don was recording back on the east coast. Here Master 5 Records teamed him up with Baby Washington. Three singles were released on the duo and the second of these gave him his first national hit in almost 11 years, “Forever” entering the charts in May 1973. He also enjoyed a solo release on the label, this being the sought after single that featured “We’re Gonna Make It Big” on the top side. Although the label gathered together a number of the pairs joint and solo efforts for release on an album in 1974, Don was soon afterwards allowed to drift out of the recording business.
Don’s expertise doesn’t just confine itself to the music business, he’s also skilled in the building trade as well as being a master chef. His singing and culinary prowess no doubt assisted him during the periods when he also ran clubs and restaurants. Today he busies himself teaching jazz skills to youngsters with an interest in real instruments and music. He is also a major player on the organisational side of the PhillyJazzClef club and occasionally undertakes live shows himself at the club. His studio exploits have in no way been forgotten though, this was illustrated by the coupling of his old cuts “Cheating Kind / Is This Really Love” for release in the UK on a Grapevine label single earlier this year.

Ray Pollard

by John Smith: Jan 2002

New Yorker Ray Pollard lost an arm in the Korean War but this didn’t prevent him from becoming the new lead singer with the Wanderers upon his return to the US. The group’s first record was released in 1953 but success eluded them until 1961 when their version of “For Your Love” enjoyed good national sales. Their biggest seller, “There Is No Greater Love” (Cub / MGM), followed in 1962 and soon after this hit, they landed a new recording deal with United Artists. The label quickly released two singles on them, “After He Breaks Your Heart” and “You Can’t Run Away From Me”, however shortly afterwards they lost interest in the group. Someone at the company must have been impressed by the strong and emotional vocals of the outfit’s front man though as, in 1965, Ray was signed to a solo recording deal by the label. The period 1965/66 proved to be a hectic time, record wise for him. United Artists released “Darling Take Me Back” in April 65 and followed this in August with “The Drifter”. Also that year he enjoyed a 45 release on the legendary Shrine label, “This Time”. In 1966, as well as having a further solo effort on UA, “It’s A Sad Thing”, he contributed vocals on Hector Rivera’s national chart hit “At The Party” (Barry). Ray continued to enjoy solo releases for the remainder of the 60’s and these continued into the early 70’s.
In the 1980’s he joined the Ink Spots, undertaking live engagements around the USA, and he would also make an appearance with the re-formed Wanderers. Here in the UK though it was his 1960’s solo efforts that were still best remembered. “The Drifter” had become accepted as an all-nighter anthem and demand was such that it was reissued here in 1980 on the ‘Sold On Soul’ compilation album. Interest in the releases on the obscure Washington based Shrine label had grown to phenomenal levels through the 1980’s and this resulted in the release of two compilation albums of the labels material in the UK in 1990/1. The first, ‘Shrine The Rarest Soul Label’ included the topside of Ray’s 45 “No More Like Me”. The other side of the single, “This Time”, was released in the same year on a UK 7” as well as being featuring on the second album, ‘Capital Soul’. Collectors here were soon searching out more of his old records and “It’s A Sad Thing” soon became another in demand record. Due to the continued popularity of his tracks on the Northern Soul scene, Ray even made it over to the UK to appear at the 1991 Yarmouth Northern Soul weekender. Now based in Las Vegas, Ray will be forgoing the pleasures of his hometown in March to fly over here and once again perform for his many British fans.

Tony Middleton

by John Smith: Jan 2002

Harlem based Tony Middleton joined doo-wop outfit the Dovers in 1952. The group secured a recording contract as the 5 Willows in 1953, their name soon being shortened to just the Willows. The group went on to enjoy its biggest hit in 1956 with a song written by Tony, “Church Bells May Ring”. Unfortunately none of their follow-up releases fared as well and by 1957 Tony had decided to go solo.
As a solo artist, he enjoyed a number of releases in the early 60’s and these culminated in his recording “My Home Town” on Alfa in May 1962. Soon after cutting this he relocated to France and it was only after spending over two years in Europe that he returned to the USA to resume his recording career. He was soon working with famed producer / arranger Johnny Pate on “You Spoiled My Reputation” and this was issued on ABC Records in mid 1965. Then, in conjunction with German Claus Ogerman, he cut “To The Ends Of The Earth” (MGM – March 66) and “Paris Blues” (Mala – November 66). These two recordings remain his most in demand tracks with UK soul fans, a copy of “To The Ends Of The Earth” on UK Polydor 7” being a much sought after item. The enduring popularity of these cuts would result in both eventually gaining release on the UK Grapevine label. Another of his recordings to find favour with Northern Soul fans here in Britain was his Speed release “Spanish Maiden”. Further releases followed through the late 60’s and early 70’s but none of these were to give Tony the commercial success he so richly deserved. In the 80’s he rejoined the Willows who were by then playing concerts on the US oldies circuit.
By the early 90’s Tony was seriously considering giving the music business up, but a call for him to perform in the UK at the 1993 Cleethorpes Northern Soul weekender led him to postpone any decision. At this event, he received a rapturous response from his UK fans and was amazed to learn of the continued popularity of some of his old recordings on the Northern Soul scene. Tony enjoyed his last UK visit so much that I’m sure he can’t wait to get back over here to perform once again in front of his many fervent British fans.