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Everything posted by Roburt
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Tonite I Have Mostly Been ... Speakin To Lou Ragland
Roburt replied to Roburt's topic in All About the SOUL
Just got off the phone again with Lou, another enjoyable 90 minutes speakin' with him. He really does have a great memory, I ask, he ponders & then you get the info right back. Loads more fascinating facts have been unearthed. Lou went on the road (in his Cleveland days) in a major way on 4 different occasions. His recall of exact dates is not brilliant but everything else he remembers. The 1st time he went off was around 1964. He was an item with Kim Tolliver at the time & her guitar player / band leader. She had other singers in tow & so their show was billed 'The Kim Tolliver Revue. Top of the bill on the package was (CM &) the Impressions. The next time he went on tour was with Terry Knight, right after Terry had a hit record out. They played the 'white club 'circuit & Lou got to play the Bitter End & Peppermint Lounge in New York. Then came a long spell (after his short period as lead singer with Billy Ward & Dominoes) with the O'Jays and that road job lasted about 2 years. Lou fronted Hot Chocolate from 70 to 73 and they undertook an extensive tour (Georgia, Louisiana, Arkansas, Alabama, Mississippi, Florida). That was the spell when the group came up with "Since You Said You'd Be Mine" & when they sold their name and became Seven Miles High. When Lou was with the O'Jays, they weren't doing that well (having returned from LA nearly broke). They played the 'black club' circuit so never made top dollar then. Lou knew they needed more publicity to generate more gigs (as the group's records weren't really selling that well --the George Kerr spell about 68).So Lou prepared a 22 page booklet as publicity for the group. As well as sending copies out to get bookings, they sold copies to the public at gigs & made a few extra $$. Below is a screen grab of the front cover of that publicity booklet ..... -
Not the era you two are talking about .... but a piccy of the Musicor group's lead singer Sonny Turner. He's dancing with our lass @ the big soul show we staged in Vegas back in 1998 .... he broke into "With This Ring" & it's such a fave of Mrs Smith's that she had to get up to dance with him ....
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I LUUVVVV me some STAAXXXXX !!
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RE: The strangest Uptown release is the Shotgun Express 45, I think that might be their only non-US artist. What did yanks make of this Tower LP then ....
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I guess Chuck had been 'Slippin' Around' (or was that Art Freeman ?).
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Not sure as I ain't got that one .... BUT the BBC did source a whole bunch of the tracks to form these LP's from Motown. I'm after the VA LP that contains a few (otherwise) unissued Gwen Owens 'Motown' tracks cut around 1973. ALSO the Rudy Love LP 'The Right Feeling' (though I have all those cuts electronically -- sent to me by Rudy). Again the Rudy Love cuts didn't escape anywhere else in the world (these were cut in Muscle Shoals but after 'Motown South' shut down).
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Another cautionary tale from life on the road .... again in Detroit ............ CHUCK JACKSON the victim .........
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Robb, I bet Robey & his female partner (who ran Buffalo Booking) got some of those Detroit based artists work on their 'southern venue circuit' AND if they did, Buffalo would definitely have taken their cut of the fees. Buffalo kept a whole string of clubs / venues (across 6/7 southern states) supplied with live acts on a constant basis ........ so I see no reason why they didn't include those Detroit artists in that work. The juke-boxes in those same venues was always stocked with new Duke / Peacock / Sureshot 45's and if one of those 45's became a popular spin, then the bar / club would be asking about a visit from the artist themselves.
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Tonite I Have Mostly Been ... Speakin To Lou Ragland
Roburt replied to Roburt's topic in All About the SOUL
I'm getting ready to write up a full article on Lou, so there will not be much appearing on this thread for a while .... .. HOWEVER .... I'll be speakin at length with Lou again on Tuesday afternoon (morning his time) and so if anyone wants me to ask him a specific question about anything from his long career, post it up here. I'll then prepare a list of them (should there be any response) and ask him. To keep things tickin over, thought I'd post up a street pic of 1966 E 55th St, Cleveland, the site of the Way Out Records studio .......... a railway line ran behind the studio, so I asked Lou if the noise of trains ever interfered with a recording session. He said that the recording sessions were held at night and trains didn't seem to run on that line at night ............... -
Jumping back to the 1st post of this thread & the riot at the Hollywood Palladium .... here's another report on it (from a mag published a few weeks later) ....
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Do you want any articles for the site Dave ??
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That's not NJ (Normal Jazz) it's MJ (Modern Jazz) ..... we'll have to split the rooms this stuff is played in; a NJ Room & a MJ Room (sorry I'm gettin mixed up with soul).
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The 'white' Mad Lads (Bally) were still going strong & playing gigs in Milwaukee (their home town ?) in 1966 ......
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BTW, it was also included on this 1978 US Motown Sampler LP, so they must have been pushing the cut a bit .......
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Some songs included on the Major's Motown LP (not the Chicago recorded stuff) were done under the supervision of Kent Washburn in LA. The backing tracks for those cuts were originally recorded with Jamal Trice (?) singing lead but his romance with Gwen ended (& thus so did his Motown career). So the finished backing tracks were just recycled & used with Major (just about sums up Motown's commitment to that album). "I Never Thought" formed the A side of the Major's only UK Motown 45, it's a track I used to play at MS nights (when I DJ'ed).
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Robb might already have mentioned this, but as well as the Stax / Volt Mad Lads, there was a white group in the late 50's who cut for Bally Records in Chicago.
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Articles: Dave Hamilton's Detroit Soul Vol 2 - CD Review
Roburt replied to Roburt's topic in Front Page News & Articles
Robb, I know it seems strange but there was a lot of interplay between the music folk in Detroit & Cleveland (plus the cities are less than 175 miles apart). Lots of Cleveland soul music biz guys would go to Detroit a lot (from the mid 60's onwards) to try to learn the Motown-secret. Choker Campbell had come to Detroit from the Ohio / Cleveland area. Mike Terry ran recording sessions in Cleveland (for Way Out) and Beans Bowles would also visit the Way Out guys. So lots of interchange going on BUT I also think it's strange coz Cleveland didn't really have good studios back then. -
I made mention of Charles' 103rd St Band days AS THAT IS what he was / is famous for in the music world. In that guise, he enjoyed many hits and toured / played gigs extensively (Mary Love was even the bands support act for some time on shows they did around California area. NS folk may JUST be interested in part of his career but you have to go with the facts not your personnel preferences. AND like Robb, I have an interest in his whole life and certainly in the 'when & why' of how he broke into the music biz. PLUS the Watts 103rd St Rhythm Band made some great music (though James Gadson was far from happy with the way he got treated during that period by Charles). A Watts 103rd St album that may illustrate the impact the band had; note the country of origin of this release ............
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There's a new book available (Kindle version on US & UK Amazon: actual book also for US customers) from Charles Wright -- ............ 'Up From Where We've Come'. Charles was of course leader of the Watts 103rd Street Rhythm Band of "Express Yourself", "Spreadin Honey", "Loveland" fame ..... ..... but don't get your hopes up .......... it only deals with his early life before he got into music. Maybe there's a further volume in development that will deal with his musical career, but at present that's not on offer.
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Articles: Dave Hamilton's Detroit Soul Vol 2 - CD Review
Roburt replied to Roburt's topic in Front Page News & Articles
Ady, where in Cleveland was it cut: Agency Recording, Boddies ?? Lots of Cleveland folk (O'Jays, etc) left Cleveland to record as the city had very few good recording facilities back then. -
BOOK REVIEW SPINNING AROUND – A History of the Soul LP Vol.1 by John Lias If any soul fans have coffee tables, then this is the definitive book to place atop that table. Not only does it look very impressive with it's bold black hardback cover and red graphics with white text, but it will impress any visitors that pick it up. What it does is what it says on the cover; this encyclopedia of soul knowledge runs to over 400 pages and lists just about every detail a fan would wish to know about all soul LP's made by artists who's names fall into the A to K band. However, if you're not looking for a 'coffee table' item to show off your credibility, what would this book do for you. Put simply, if you're into albums made by soul artists then this will complete your life. You don't get any facts on how much each LP listed is worth, but then why would you want to depress yourself with such information. A 'little birdie' informs me that at least one LP has been missed from this weighty tome but I'm not the type to snitch and inform you what that is. The book opens with a preface and then an introduction which explain what it is that is about to follow. Then it's straight into the 'meat & two veg' facts. On page one of the album listing we get both Ace Spectrum and Barbara Acklin, so it doesn't take long to get to the good stuff. To say that the descriptions of both's album output is complete is an understatement. You get life facts on the artists where appropriate (& known) – for instance did you know that Barbara Acklin started out at her record company as a secretary !! With regard to Ace Spectrum, we learn who the main (long term) group members were and about all the different writers / arrangers that they worked with. The book is a very wordy affair so if you're wanting visual reminders (LP cover pictures) to go with the text, then you're going to be disappointed. But, that would make it a whole different manual. Plus the colour printing required and extra space needed would push the price up beyond the reach of most prospective buyers. Of course, John brings his own perspective to each album that is dealt with in this volume. If you're a massive fan of mid 70's Casino stompers then I doubt John's view on all things soulful will mesh with yours. But then if you're a Wigan-era zealot, you'll mainly be interested in facts on 45's not LP's. We don't get any info on compilation albums in here, though the finest of such releases (for instance the Impressions UK 'Big Sixteen' releases) do get a mention in passing. Indeed, over four pages are needed to cover the complete works of Chicago's most magnificent group – the Impressions. The facts on the group and their LP releases are split up into different sections to account for the changes in their personnel / sound down the years. I like John's opinion on this outfit (one of the greatest groups of all time) so I will not let my bias show by quoting detail by the shovelful. Lets just say, that mentions for Big 16 Vol.1 and Vol.2 had to be made even though these were compilations, however as they are single-artist affairs, they just managed to scrape in (getting over John's qualification bar). Mind you, the group's last ABC outing (a collection of mainly old standards that must have been sitting in the vaults) does get a panning. But you just need to open up the book at any random page; lets say for this review the spread on pages 302/303 and you get the whole truth with regard to some artists LP output. On these two pages we get the lowdown on Brenda Holloway (including her UK 'Artistry of' release), Eddie Holloway & Loleatta Holloway. John starts the review of Brenda's work with a statement that may get some Motown fans pondering. In his piece on Eddie Holloway, the guy's 45 output features large in the explanatory facts and Loleatta gets over a complete page of fascinating detail to cover her output. Each artist takes their turn in alphabetical order, both the greats and the minor players. So not only do you get to read all about Marvin Gaye, Eddie Kendricks and Gladys Knight but also about the likes of Perk Badger, the Bell Brothers, Beverly & Duane, the recently passed C L Blast (I have that elusive 'Made In Africa' LP John !!) and Lou Bond. It's not a book to read from cover to cover in one go (IMHO) but as a resource for reference, I don't think it could have been improved. If Wikipedia ever decided to set up a dedicated section on soul music, they wouldn't need to go anywhere else than this book to have (almost) the complete story. John has already assured buyers that, as long as sales levels meet expectations, then Volume 2 is a stone cold certainty. It needs to be, as that coffee table has just the empty spot that another scholarly work would fill to perfection. If, however, what you're after is the definitive reference book on soul, then I don't think you need to look any further than this 5* effort. JOHN Roburt SMITH: March 2016 Added by site @johndelve posted the below ordering information in his earlier forum post Anyone who is interested in buying a copy contact me directly at john.lias@googlemail.com and I can ship copies directly. Price is £20 + £2.80 postage anywhere in UK. Same selling price holds true for other parts of the world but postage is going to be expensive, I'm afraid, as book is heavy.
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I might get in trouble for putting this up (making too many posts it seems) BUT thought everyone would be interested in this upcoming new release Disc 2 does nothing at all for me but the other 4 would be worth owning .......... https://www.amazon.co.uk/Music-Motortown-French-VINYL-Various-Artists/dp/B01AVNGBVW/ref=sr_1_1?ie=UTF8&qid=1458289231&sr=8-1&keywords=Motortown%3A+The+French+EPs
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Robb, if you go over to the current Lou Ragland thread ....... there's a picture of Lou with Eddie Levert & Larry Hancock. Larry was lead singer with the Intertains (before taking that role with S.O.U.L.) and he wrote a BIG song that the O'Jays recorded (Working On Your Case). I met up with (& interviewed) the members of S.O.U.L in London in the mid 90's (when they were over here for a Ace / BGP sponsored concert with Terry Callier). Larry told me bits about his time in the Intertains (+ I talked to Beloyd Taylor about his work in Cleveland, as a solo artist & in EW&F). I'm still in touch with the outfit's drummer Paul Stubblefield (that's S.O.U.L.'s drummer not the Intertains).