Terri Bryant/Pat Lewis/Genie

[Geronimo]

Morning. 

Hope you don't mind me asking what may seem an anal question. 

Any of you learned folk know what the true story over the Pat Lewis Goldmine release of Terri Bryant's wonderful Verve release of Genie was?

I seem to remember something about a lost master tape, also another tale that a certain entrepreneur just brought her into the studio to cut a like for like recording.

Another that she was originally in the backing vocals to give the release credibility. 

Unsure If this was confirmed. 

In anticipation,thank you for taking the time to respond. 

Ade.

https://youtu.be/ANkJtwXYlKY?si=uIXfacMBKozbwvW9

[Robbk]

Wasn't the Pat Lewis version of "Geni" Goldmine release from those Groovesville masters obtained originally from Don Davis' son, that appeared on that Groovesville Masters cassette tapes set that appeared around 1990?  I heard, back during the 1960s (maybe from Ron Murphy?) that Lewis, then one of Don Davis' and Lebaron Taylor's Solid Hitbound Productions' regular artists, and one of their main background singers, was chosen to sing the demo versions of "Geni" and "When I'm In Your Arms" for Solid Hitbound's special contracted production of that record for Sussex Productions and MGM/Verve, the latter of whom already had Ms. Bryant under artist contract.  That's why Pat Lewis' version was not released.  MGM/Verve probably placed a specific clause in their contract with Solid Hitbound, that the latter couldn't issue a commercial version of either song on their own labels.  So, Lewis' version, sung over the same general background tracks(but a different mix), was likely just the demo that Bryant used as a guide, and was never intended to be issued on Solid Hit Records.  It seems that Solid Hitbound/Groovesville was contracted by Sussex(Clarence Avent) to write the songs and supervise the recording session (in Detroit, I believe at United Sound) together with George McGregor, and have Mike Terry arrange it, for MGM/Verve, who needed material and producers to produce sessions on their newly-signed artist (Terri Bryant).  Verve and Sussex (primary contractors) contracted with a different production crew (George Kerr) and arranger (Richard Tee) for her other Verve release, "Everything's Wonderful", (recorded in New York).  I'm guessing that Avent "discovered" Bryant, and got her the audition with Verve, which is why there are 3 different major players in this project, with a prime contractor, Avent's Sussex Productions, a subcontractor, Taylor and Davis' Solid Hitbound Productions, and Record Company MGM/Verve Records.  Apparently, Avent brought Bryant to Verve, and either HE, or his subcontractor, Solid Hitbound, brought in free lance songwriter/producer, George McGregor, a session producer, and Avent didn't trust McGregor's songwriting to be good enough to produce a hit, so Davis' Groovesville was chosen to write the songs and produce the demos, and use their regular arranger, and provide the background vocalists and produce the instrumental and background singers tracks.  Despite paying out more for this deluxe over-costly contract setup, with an extra middle man, Bryant's 2 records charted modestly, but didn't bring in enough sales, more than having McGregor write the songs, produce the session alone, arrange for the background singers, arrange the songs himself, or have the same, Mike Terry, arrange, and cut out Davis and Taylor's Solid Hitbound Productions, altogether.

I heard also (from another Detroit friend) that Pat had, indeed, been one of the background singers on the background track.  I can't remember, offhand, who the other background singers were.  But, they were likely other Don Davis Groovesville regulars.

Edited 4 hours ago by Robbk

[Mal C]

I have an MP3 called 'Solid Hitbound Productions - Genie (instrumental)' which sounds like a proper Inst, you can hear the stylus hit the grooves....just love the melody of it.... 

Pat Lewis 7inch scan below   WHAT A RECORD!

[Nsdancer]

1 hour ago, Robbk said:

Wasn't the Pat Lewis version of "Geni" Goldmine release from those Groovesville masters obtained originally from Don Davis' son, that appeared on that Groovesville Masters cassette tapes set that appeared around 1990?  I heard, back during the 1960s (maybe from Ron Murphy?) that Lewis, then one of Don Davis' and Lebaron Taylor's Solid Hitbound Productions' regular artists, and one of their main background singers, was chosen to sing the demo versions of "Geni" and "When I'm In Your Arms" for Solid Hitbound's special contracted production of that record for Sussex Productions and MGM/Verve, the latter of whom already had Ms. Bryant under artist contract.  That's why Pat Lewis' version was not released.  MGM/Verve probably placed a specific clause in their contract with Solid Hitbound, that the latter couldn't issue a commercial version of either song on their own labels.  So, Lewis' version, sung over the same general background tracks(but a different mix), was likely just the demo that Bryant used as a guide, and was never intended to be issued on Solid Hit Records.  It seems that Solid Hitbound/Groovesville was contracted by Sussex(Clarence Avent) to write the songs and supervise the recording session (in Detroit, I believe at United Sound) together with George McGregor, and have Mike Terry arrange it, for MGM/Verve, who needed material and producers to produce sessions on their newly-signed artist (Terri Bryant).  Verve and Sussex (primary contractors) contracted with a different production crew (George Kerr) and arranger (Richard Tee) for her other Verve release, "Everything's Wonderful", (recorded in New York).  I'm guessing that Avent "discovered" Bryant, and got her the audition with Verve, which is why there are 3 different major players in this project, with a prime contractor, Avent's Sussex Productions, a subcontractor, Taylor and Davis' Solid Hitbound Productions, and Record Company MGM/Verve Records.  Apparently, Avent brought Bryant to Verve, and either HE, or his subcontractor, Solid Hitbound, brought in free lance songwriter/producer, George McGregor, a session producer, and Avent didn't trust McGregor's songwriting to be good enough to produce a hit, so Davis' Groovesville was chosen to write the songs and produce the demos, and use their regular arranger, and provide the background vocalists and produce the instrumental and background singers tracks.  Despite paying out more for this deluxe over-costly contract setup, with an extra middle man, Bryant's 2 records charted modestly, but didn't bring in enough sales, more than having McGregor write the songs, produce the session alone, arrange for the background singers, arrange the songs himself, or have the same, Mike Terry, arrange, and cut out Davis and Taylor's Solid Hitbound Productions, altogether.

I heard also (from another Detroit friend) that Pat had, indeed, been one of the background singers on the background track.  I can't remember, offhand, who the other background singers were.  But, they were likely other Don Davis Groovesville regulars.

Your Knowledge about Rare/Northern Soul amazes me. I have read some of your other posts. If there was such a thing as a Phd in the subject you would have one. I'm sure people on this site have mentioned you should write a book ; I concur. I guess like most things in life it's having the time & energy do it. Although I would guess all of your posts on this site would make up a book. Thank you for sharing 

[The Yank]

From Billboard -November 12, 1966- 

[Robbk]

53 minutes ago, Nsdancer said:

Your Knowledge about Rare/Northern Soul amazes me. I have read some of your other posts. If there was such a thing as a Phd in the subject you would have one. I'm sure people on this site have mentioned you should write a book ; I concur. I guess like most things in life it's having the time & energy do it. Although I would guess all of your posts on this site would make up a book. Thank you for sharing 

Approaching 80 years old, and not having the energy for such things, I don't think I'm going to be able or willing to put the time and effort into writing a book.  And I don't have any children who would sue anyone for publishing any of my posts on this website or Soulful Detroit.  So, if, after I'm gone (from this World - not just this website), someone wants to gather up and edit all my posts on Motown, Detroit Soul, and Chicago Soul Music, and edit it, and compose it into a coherent publication, I'll have no objections.  I won't come back from the grave to haunt such a person.  

Edited 2 hours ago by Robbk