The Volumes

by John Smith: Mar 2009

The term ‘one hit wonder’ is usually considered a put down and therefore isn’t a description that a group welcomes. Although it’s a term that has been assigned to the Volumes, it is far from appropriate. Ask a Northern Soul fan to name the track that was the group’s most popular cut and you will get any of four answers but none of them will be the group’s only US national hit. Their big hit was actually “I Love You” and it shot up the charts way back in 1962, making them just about the top R&B group in Detroit back then. Commercially, they never equaled those dizzy chart heights again, but they had a long recording career and enjoyed many more top releases that have become anthems with soul fans around the world.
Formed in Detroit back in the days of doo wop (1960), members had gotten together on street corners after school (Central High, Chadsey, etc.) to practice their harmony singing. The group consisted of Eddie Union (lead), Elijah Davis (first tenor), Larry Wright (second tenor), Joe Travillion (baritone), and Ernest Newsom (bass). Willie Ewing became their manager in 1961 and he set up Chex Records. The group hit the floor running, as their first 45 release, "I Love You", quickly entered local charts. It soon broke out of Detroit and rose to reach the R&B Top 10 and Pop Top 30 in 1962. The group’s expert harmony work on the cut hide the make shift nature of the instrumental backing (Detroit legend Popcorn" Wylie beating out the rhythm on a suitcase). Chex issued a second 45, “Come Back Into My Heart”, but this failed to repeat the huge success of their first outing (though Lamont Dozier played on this). Chex was only a tiny label with few resources and no means of effectively distributing their releases. When “I Love You” had exploded onto the charts, a deal was done with Jubilee Records for national distribution. Unable to cope with the workload their success brought, Chex handed over the reins to Jubilee almost entirely for the group’s next two releases (in 1963). The group had teamed up with Harry Balk and Duke Browner to work on these sides issued on Jubilee. Recording in New York, the songs they cut were written by Maron McKenzie (Harry’s staff writer) and produced by Duke Browner.
Further label changes were experienced after Balk and Jubilee had a falling out. So the group’s next outing was released on New York based Old Town Records (1964), with a second 45 escaping that same year on the American Arts label. These changes weren’t instigated by the group themselves and certainly didn’t indicate that they were difficult to work with. The production team behind all of these recordings being Harry Balk and Duke Browner (however they worked almost exclusively with Browner). American Arts was owned by Lou Guarino, a friend of Harry's based in Pittsburg. In fact, Balk was reorganising his Detroit area business set-up and so he placed a number of his artists (Bobbie Smith, etc) with American Arts during that period. The Volumes had made a seamless transition to cutting soul tracks as Eddie Union adapted his lead vocal style perfectly to suit the new sound. Their opening release on American Arts, “Gotta Give Her Love” was a superlative example of this and the 45 returned them to local radio station charts. The follow up “I Just Can't Help Myself” escaped in 1965 but that same year, Eddie Union left the group to ensure his family was provided with a more steady income. This resulted in a shake up of the group’s membership and when things settled down again; Gerald Mathis was recruited as their new lead singer because he sounded quite like Eddie. The group now consisted of Gerald (out front), Elijah Davis, Ernest Newsome, Bobby Peterson & William ‘Pete’ Crawford (who had started out in the Distants with Melvin Franklin, Otis Williams and Richard Street).
After his deal with American Arts was up, the Volumes next single (in 1966) was placed on Balk’s own label, Twirl Records. “I Got Love”, the featured song on this, being written by Duke Browner. After rehearsing new songs in Harry Balk's office, they would head for Specialty Studios on East Grand Blvd for the actual recording session (the practice of only cutting their demos in Detroit ended in 1965). The group’s Impact and Inferno releases were recorded in Detroit using musicians such as Dennis Coffey, Bob Babbitt, Marcus Terry, Dave Hamilton, Joe Hunter & Popcorn Wylie (who also handled the arrangements). Next up, the group was moved to the Impact label, this label having been started by Balk in 1965. “The Trouble I've Seen / That Same Old Feeling” featured new guy Gerald Mathis on lead vocals (though his tenure would be short lived). After Eddie Union had gone solo, only two of the five strong group were original members. The other guys had been co-opted in from other groups and because of this they decided to record & play some gigs under the name of the Magnetics.
JUMPING BACK IN TIME; another Detroit group was being formed in 1959 and members of this would eventually team up with guys out of the Volumes to write yet more pages in Detroit’s soul story …. Bobby Peterson had been born in downtown Detroit in May 1939. He grew up there and attended the same schools as other members of the Volumes & Magnetics (Bobby himself being educated at Central High School). During that period, he started singing on street corners with his friends. They soon developed their harmony skills to a level where they were good enough to perform at parties & appear on local variety shows. This was in 1959 and the group took the name, the Marvelous Marveliers. Their line-up was Bobby Peterson, his younger sister, Sharon Peterson, Tony Johnson, Jackie Perkins and Candi (Fagan) Bell. They met some guys who were so impressed with their efforts that they wanted to fund a recording session. The offer accepted, the group cut “Down (On My Knees)” and “When We Dance”, both songs being written by Tony Johnson. Under the guidance of Gil Martin (who was later to work for Motown), Tony handled lead vocal duties on both songs.
These cuts were released (as by the Marveliers) on the Cougar label in 1960 but failed to make much impact. Disappointed at the lack of success for their record, the group soldiered on but they were going nowhere and so decided a change was needed. The members of the group still got on well though, so it was decided that their new start would just involve a change of name. As a result, the Magnetics were launched onto the Detroit music scene. Under their new name, they quickly established a good following and again created enough interest to come to the attention of a local record company. The group went into Continental Recording (at 9022 Twelfth Avenue) with Popcorn Wylie and recorded “The Train” (written by Popcorn & Tony Johnson). This was released in June 1962 on Continental’s in-house label, Allrite. The other side of the single was “Where Are You” (again an R Johnson composition) which had a ‘throwback’ feel, being quite doo wop sounding. This 45 managed to gain quite a bit of radio airplay in Detroit and led to the group securing bookings at venues such as the 20 Grand, Mr Kellys, Phelps & Henrys.
A return to the recording studio was called for and the group laid down some new songs; “Wonderful Moment” and “I Walk Alone (?). Again Tony Johnson wrote the songs and sang lead on them but for some reason they were never released. The Magnetics must have been quite envious of their old friends in the Volumes who were by then touring across the States on the back of their national pop chart hit “I Love You” (by a strange co-incidence Popcorn Wylie had worked with the Volumes on “I Love You”, as he had with the Magnetics on “The Train”). Yet again, the group’s career stalled, they weren’t making any headway and were starting to become stale. So Bobby, the leader, took the decision to wind the group up and its members looked for new challenges. Tony Johnson went on to team with Tyrone Pickens and they cut "Please Operator” for Ted White’s Ram Brock / Ston-Roc set-up (as Tony & Tyrone).
A new group was formed from the ashes of both the Volumes and Magnetics and it utilized both group names. Thus, when the cuts “Lady In Green” and “Heart, You're Made of Stone” escaped on a Bonnie 45, it was under the name of the Magnetics. Once again, Gerald Mathis handled lead vocal duties on these tracks. As they had done on their Volumes recording sessions, the group worked with Duke Browner. The guys appreciated his writing (Duke wrote “Lady In Green”) and arranging skills, so had no problem working with him yet again. In support of their new 45, they played live gigs around the Detroit area under the Magnetics name (at venues such as the 20 Grand and Mr. Kellys) and even ventured as far away as Chicago and Cleveland for other gigs. “Lady In Green” didn’t manage to make much of an impact with the record buying public (probably due to the lack of copies of the 45 in the shops) but undaunted, they returned to the studio to cut some more songs. Yet again Duke Browner was the composer of these songs; “Hard On You” was an up-tempo number with “Some Day, Some Way” being a ballad. Unfortunately for the group these two cuts didn’t even manage to escape from the tape vaults. This set-back, coupled with the general lack of progress they were making and the struggle to maintain regular live bookings led them to throw in the towel (with the earlier group’s members going their separate ways)
For the Volumes next single, their changed line up featured Jimmy Burger on lead vocal duties. “You Got It Baby” in 1967 illustrated how well the group had adapted to the changing sound of soul and in fact has a timeless quality. Next came “My Kind Of Girl” which has also stood the test of time well, but with Duke Browner again writing the song and Dennis Coffey with Mike Theodore arranging, that’s hardly a surprise. Berry Gordy had by now started to eliminate his competition and so in 1968 he bought out the Impact label. So Balk opened Inferno Records but soon after Gordy offered him a job and so Motown took Balk, Duke Browner, their artists and catalogue in house (this ensured that they couldn’t start up yet another new venture in opposition to Gordy). The Volumes were part of the deal and so their next 45 escaped on the Motown distributed Inferno label. The group’s “Ain't That Loving You” hit the shelves in 1968 with Jimmy Burger once again handling lead vocals. Unfortunately for both the Volumes and Duke Browner, Motown had numerous talented groups, writers and producers so both parties quickly got lost in the shuffle. The group went without a new release for around two years before Ollie McLaughlin added them to his roster on Karen Records. A single was issued in 1970, “Ain't Gonna Give You Up” and this proved to be the group’s last release. They broke up with Ernest Newsome joining the Fantastic Four.
The Volumes seemed to be dead and gone for many years, but the US oldies scene wasn’t going to allow that to happen. Eventually the group was persuaded to reform to undertake live shows. Their new line up consisted of Elijah Davis, Eddie Union, Bobby Peterson and James ‘Pete’ Crawford. So the group is back together performing in US doo wop shows and now they’re in the UK to perform at the Weekender. Whether they yet understand how revered they are here, I don’t know. But it’s a sure thing that by the time they finish their performance on Saturday night, the guys will fully appreciate how much their old tracks still mean to UK soul fans.

Eula Cooper

by John Smith: Jan 2009

“I hope these dreams will come true”, so goes a line in the song “Let Our Love Grow Higher”. Well we often dream that rare soul icons such as Eula Cooper would be re-discovered and make a triumphant return to performing live. Of course it needs something to trigger such a process. Something such as a specialist record label licensing rare old 45 tracks from a long extinct outfit who never really managed to make much commercial impact. Well not too long ago, US based specialist label Numero added a new compilation to their well respected ‘Eccentric Soul’ series – ‘The Tragar & Note Labels’. The publicity surrounding this release made Eula aware that there were still many fans of her music, spread right across the world, Not one to rest on her laurels, when offered a live gig in New York, she jumped at the opportunity. So last November, at the Five Spot in Brooklyn, Eula made her New York live debut 40 years after her first 45 was issued. Strangely, that first single had made such an impact in her home town of Atlanta that New York colossus Atlantic Records had licensed the single for national distribution. Inspired by the reception she got from the New York audience, Eula has now bitten the bullet and agreed to head overseas to perform for the first time ever. There’s nowhere better for this debut to take place than the Prestatyn Weekender.
Eula was born in 1953 in Opelika, Alabama (west of Columbus) but moved to Birmingham at an early age. The family moved again when she was 6years old, this time the destination was Atlanta. Here, she got into singing in church and it wasn’t long before she made her public appearance debut. At age 9 she entered a talent show held at the Magnolia Ballroom in Atlanta and on this she sang "What Two Can Easily Do" (in late 63 / early 64). Even at this young age, she was already displaying her considerable vocal abilities. Singing a cappella, she won the contest and her career was almost launched. A few years passed and Eula was only managing to impress her school friends with her vocal efforts. One day in 1968, she was entertaining her friends by singing a song she had written (“Shake, Daddy, Shake”) whilst they all tried clothes on in a shop in the city. The store owner liked what he heard and suggested she head upstairs to the offices above the shop. Along with her friends, she took the advice and found Jesse Jones sitting at a desk in his Tragar Records office. She sang the song for him and was immediately sent home to fetch her mother. Jesse instantly recognized that in Eula he had probably discovered someone he could mold into a real star.
In no time, Eula’s first 45 hit the shops. “Shake Daddy Shake” immediately made the local charts and was picked up for national distribution by Atlantic (they made “Heavenly Father” the plug side). So after spending her weekdays at Booker T Washington High School, the weekends would be devoted to spells in the recording studio or on stage. “Try” (arranged by Tommy Stewart) became the A side of her next 45 outing with her Motown connection being renewed on its flip with a cover of “Love Makes Me Do Foolish Things” (this had been meant for Richard Cook but he had failed to show up in the studio). “I Can't Help If I Love You” also escaped in 1969 on Tragar 45’s (twice). The label was however experiencing a major cash crisis and it soon lapsed into hibernation, but Eula’s crowning glory was about to take wing. Starting up the Super Sound label, Jones decided a more professional product was needed. So Eula was taken over to Muscle Shoals Sound Studio to work with the highly proficient in-house team there. The result was “Let Our Love Grow Higher”, a song written & arranged by Tragar stalwart Bill Patterson in 1970. It was to prove to be Eula’s finest hour.
Funds were still short though and this deficiency meant the song was lost in the shuffle due to lack of promotion. The Super Sound label quickly sank without trace but was soon replaced with Note Records. “I Need You More” escaped in 1971 and this particular cut is Eula’s personal favorite (it was used again in 1972). The strings on the track were arranged by Wade Marcus who also worked for Motown, Atlantic, Stax and Chess. After the journey across to Florence (200 miles), she was so tired that she fell asleep in the studio. The backing on thr track was finished while she slept; luckily she woke in time to add the lead vocals. When not studying at school, in the studio or on the road, Eula sang in the choir. She next teamed up with fellow choir members Shari Billingslea and Deborah Tolls to form Cherry Blend. The trio cut the fine “Love Is Gone” in Muscle Shoals and it was released by Note. King Records were impressed and so licensed it for release in 1972. But Eula was soon back to solo recording duties, this time at Fame Studios. The Sam Dees song “Beggars Can't Be Choosey” was laid down and coupled with “I Need You More” (being used once again) in 1973. This Note Records track became Eula’s first UK release when in 1979 it was issued here on the Grapevine label. Back in America, “Standing By Love” was re-cycled for her next and (unfortunately) last US 45 release.
Eula went off to college, started a family and then followed Jessie Jones across to California. Here she continued to play live gigs and even hooked up with Jones to lay down more tracks (1984) but none managed to escape from the tape vaults. She even prepared to sing back-up for Chaka Chan but refused to go on the actual tour after getting the short end of the stick with regard to some songs she largely composed for Chaka. Eventually she moved back to the south and bought into the more mundane 9 to 5 lifestyle. Luckily, the reaction to the Numero CD changed that and she’s now ready to dive back into the entertainment pool. The appreciative Prestatyn audience will almost certainly guarantee that she doesn’t come to regret this decision. I’m sure dreams will come true for many people at this weekender, Eula will surely be one of them.

Bobby Patterson

by John Smith: Jan 2009

There have been many memorable live performances in the last 7 Years at Prestatyn, but we haven’t yet been able to help an artist celebrate a major event in their life. That all changes at this weekender as Bobby Patterson celebrates his 65th birthday whilst here. Bobby never enjoyed the scale of commercial success that his talents deserved but he did maintain a steady stream of good releases over countless years. Many of these found favour on the UK Northern Soul scene and this ensured that he’s become a welcome visitor to these shores. Bobby is a singer, musician, songwriter, arranger, producer and even a radio DJ. With regard to his songwriting, he always liked to tell a credible story with his lyrics. The short length of tracks back in the 1960’s made this a difficult task but Bobby ensured this constraint didn’t stop him from painting a vivid picture with his words.
Born on 13 March 1944 in Dallas, Texas, Bobby wasn’t from a musical family. However, a piano & guitar had been left to his family and Bobby taught himself how to play the guitar. Bobby had started singing in school and it was here that he formed his first group. He also began to write songs from an early stage in his career and learnt to play the drums. Later on, he would spend time writing, arranging and producing tracks for third parties. Having started out in the Royal Rockers, it was as Robert Patterson & His Combo that he was to enjoy his first record release (1963). In 1966, he secured a solo record deal with Dallas based Abnak Records who released “You Just Got To Understand / Till You Give In”. Jetstar was promptly created specifically for his recordings, “What's Your Problem Baby” forming the 1st single on the label. “Let Them Talk” followed with “Broadway Ain't Funky No More / I Met My Match” (both typical Bobby Patterson penned songs) coming out in 1968 (this becoming his first UK release).
In 1968 / 1969 Motown releases were dominating the top of the US soul charts and this commercial success influenced Bobby. He decided to try and capture that Detroit dance feel with “My Baby’s Coming Back To Me”. Judging by the enduring popularity of this cut, Bobby certainly succeeded in his efforts. But this wasn’t the only time that he tipped his hat in the direction of Detroit, “Till You Give In”, “Sock Some Lovin At Me” & “What A Wonderful Night For Love” (also Abnak / Jetstar recordings) being other examples. Bobby wasn’t just writing and producing his own tracks though as he also worked with Jon & Robin, the Mustangs and Alder Ray Mathis. After a couple of local hits, “TCB OR TYA” was released and soon became a national hit (making it up to No. 36 in May 1969). Bobby cut many of his Jetstar outings in Dallas, but he also traveled to record in Tyler, Memphis, Shreveport and Muscle Shoals. On his Muscle Shoals session, he selected a song penned by cult southern soul man George Jackson. “I’m In Love With You” became a Jetstar 45 and it was picked up in the UK by the Action label in 1972. But Jetstar was running out of steam and soon closed down. Bobby shopped an album around but eventually signed with Stan Lewis’ Paula label in 1971. The following year, “How Do You Spell Love” came out and this quickly became a top track for him. An album was released and this contained some great up-tempo cuts (“I Just Loved You Because I Wanted To”, “Everything Good To You”, “Make Sure You Can Handle It” & “Recipe For Peace” – the later eventually escaping on 45 in 1992).
Now working with Jerry Strickland out of Shreveport’s Sound City studio, Bobby set up the Soul Power label. This inking issued some superb tracks by the likes of Tommie Young, Shay Holiday, George Perkins and the African Music Machine. In addition to these and his own recording sessions, Stan Lewis was now sending numerous artists to work with Bobby at Sound City -- Roscoe Robinson, Fontella Bass, the Genies, Ted Taylor, the Montclairs, Eddie Giles & the Violinaires being amongst these. The likes of Margie Joseph, Albert King and Z Z Hill also recorded versions of his songs.
Following a bust up with Stan Lewis, Bobby returned home to Dallas. Needing a reliable income, he concentrated on promotional work for labels such as Malaco, RCA, Capitol, Atlantic, Profile & Columbia. He wasn’t able to stay away from the studio though and cut some new tracks in the mid 1970’s. Initially “If He Hadn’t Slipped And Got Caught /“I Got To Get Over” was picked up by LA based Granite and this became his 2nd national hit in April 1976. The rest of his cuts (enough tracks to fill an album) were picked up for release by New Jersey based All Platinum.. Unfortunately only one single, “Right Place, Wrong Time”, was to escape into the shops in 1977. This is a song that Bobby is truly proud to have penned & this 45 again made the charts. Another 45 All Platinum released right after Bobby’s featured Chuck Jackson. “I Fell Asleep” formed the A side of this and its label states “track produced by Bobby Patterson, vocal & mix by Sylvia”. But Bobby never got to work in the studio with Chuck, All Platinum had just removed his lead vocal from the backing track and replaced it with Chuck’s.
Still tied to a contract, in 1982 he released ‘The Storyteller’ album on Proud under the name of Bobby Story. Bobby’s many years of service to Malaco were rewarded in 1983 when they issued his version of King Floyd’s “Groove Me” on a 12” single. Following this, Bobby reactivated his Proud label and released the CD album ‘Second Coming’ in 1996 (this features the excellent deep soul cut, “You Can’t Steel Something”). Next up came the CD ‘I’d Rather Eat Soup’ (Big Bidness: 1998) from which the pleasing beat-ballad title track escaped on 45. In 2002 he had two more CD’s out on Proud; ‘Back Out Here Again’ and ‘Live at the Longhorn Ballroom’. Bobby himself has always regretted that he was never signed (back in the day) to a major soul label such as Stax. He can however be very proud of his many releases down the years. He is still a very exciting live performer who can captivate audiences, let’s hope he continues to do so long beyond his 65th year.

Benny Troy

Lenis Guess

by John Smith: Jan 2008

Lenis was one of the few who didn’t have the time to wait to be discovered…. he discovered himself and let the world catch up to him. Lenis Guess is a genius without fear, and I’m proud to be able to call him my dear friend” so says Swamp Dogg. And if you impress Swamp, you must be someone special. Not only is Lenis Guess a talented singer, musician, song writer, producer and arranger but more than anything, he’s a stayer. He is still an accomplished entertainer, some fifty plus years after he first recorded. After all those years, he finally got the chance to perform live here in the UK, where his most ardent fans are to be found.
Born in Norfolk, Virginia in 1940, Lenis was putting on shows for his family at age five. By the time he was fifteen, he was singing harmony on the street corners with his friends. Two years later he was in a group who were entering and winning talent shows. He wrote the song “Crawling” and with the Blue Beards cut the song. It was at this point that Frank Guida first entered his life. A recording contract was offered but Lenis’ parents decided that he should complete his education, so he had to quit the group. He continued to write songs though and established recording star Kenneth Deal was so impressed with some of these that he took Lenis to meet local club owner George Perkins. The threesome decided to start a record label and just a year later, Lenis cut the self written “Thank Goodness” which soon became a top play locally. But the big fish in Norfolk record company circles was Frank Guida and so Lenis teamed up with him.
“Working For My Baby” was written, released on Guida’s SPQR label and quickly shot towards the top of the local radio station singles charts (the cut was also played on Dick Clarke’s American Bandstand, the most influential US TV music show back then).. Lenis performed at radio station WRAP’s Music Award Show (held at the Chrysler Hall) and was voted best male vocalist of the year. Guida thought that “Working For My Baby” still had some life left in it, so this time coupling the track with “Just Ask Me”, a new 45 was released. The single didn’t instantly enjoy repeated commercial success, but with the passage of time, “Just Ask Me” became a top collector’s item. The cut first found favour on the UK allnighter scene around 1972 and it quickly became a top sound at clubs such as the Golden Torch. Its continued popularity resulted in the track being licensed for UK release on Route in 1975. Back in the US, further releases by Lenis had continued to be issued, these being on the SPQR, LeGrand, New Faces & Norfolk International labels. “You Can’t Destroy A Pure Man” was released on the Norfolk International label but despite its obvious class, it failed to sell in sufficient volume. Above all things, Frank Guida was an astute businessman. After almost allowing Lenis to take up residence in his recording studio to learn the technical side of the recording business, he grew tired of the scant returns his studio was generating. Losing interest, Guida quit the recording industry and returned to the retail side of things.
Thus Lenis found himself with the necessary skills to operate a recording studio but he had no studio in which to utilise them. He put matters right in 1970 when, in conjunction with Dorsey Brockington (a gifted engineer & sax player) he started Brockington & Guess Studios. He worked with the likes of Barbara Stant (Shiptown), Debbie Taylor, Oliver Christian, the 35th Street Gang (his studio musicians), Sir Guy, Calvin Wilson, Roy Hines & Reginald Wilson. On such sessions, Lenis would also play keyboards. He didn’t totally neglect his own recording career though. In fact, he landed himself a contract with Polydor Records and they put “Super Woman” out in 1972. With the help of Swamp Dogg, a deal was done with Brunswick Records in 1974 for the release of the 35th Street Gang’s “Come On Go With Me”. The studio was in use almost continuously from the early to mid 70’s, but money was still a scarce commodity. Because of this, many tracks remained in the can and those cuts that did make it onto 45, were pressed up in very limited numbers on labels such as DPG, Guess and LaShawn (thus creating almost instant collector’s items). The studio was mainly known for its funk output, but the best cuts by Lenis to escape on DPG were “For All You've Been” & “Thank You Baby”. Running the studio was always a struggle, but Lenis soldiered on even after Dorsey Brockington quit and left town. But in 1979, Lenis threw the towel in and relocated to New York, the days of the ‘Norfolk Sound’ were finally over.
Lenis set up on 8th Avenue in Manhattan and soon had another studio operational. He cut “I Keep Coming Back For More” and this was released on the Guess label in the 1980’s. Lenis continued to cut both himself and other artists, his own 45’s being released on both the Guess (“Purified By Love”) and SOS: Sound Of Soul (“Falling Deeper In Love” - 1983) labels. A 12” release (featuring a picture cover) escaped on Guess in 1984: “I Can’t Leave Your Love Alone”, but commercial success largely continued to elude him. So he moved on, the proximity of Broadway inspiring him to start writing stage plays. A number of these have now been staged ‘off Broadway’ and Lenis also created the film character Lash. He hasn’t given up his first love though and at present has three CD’s on offer. Two of these are gospel albums; ‘Spiritual Warfare’ & ‘Thinking About Jesus’, whilst the third (‘I Keep Coming Back For More’) features 4 secular tracks. Lenis has lived all his life in cities located on the waterfront, so he must have felt quite at home in Prestatyn as the weekender venue is located adjacent to the beach. The temperature though wasn’t warm enough to tempt him down onto the shore where he might just have found the inspiration to trigger his next project.