Roburt

The song "My Little Red Book" gets mentioned in a 5 page long section of the BB book. The Manfred Mann + the Love version are talked about + the fact that the song was written for the 'What's New Pussycat' film .... BUT Tony Middleton never gets a mention (either for providing the vocals on BB's version of the song OR with regard to him working with BB at all) ...... SAD OMISSION ME THINKS. Didn't Tony sing this song live when he was on @ Cleggy ??

A piccie of Willie performing @ the Cleggy Weekender .....

A picture of Ruth fronting Carl Holmes & the Commanders (around 67) .....

Another ad for the Marie + Rex 45 from March 1959 ......

his studio work with singers such as Dionne Warwick, the Drifters, Jerry Butler, Cissy Houston, Dee Dee... Tap to view this Soul Source News/Article in full

Karl Holmes French EP cover (a Barclays label release) .......

A bit more info on Ruth's work with Karl Holmes & the Commanders in 1966/67 ...... In July 66, Ruth + Karl Holmes & the Commanders undertook a big gig in Paris. By all accounts, Ruth was knocking audiences out with her performances. After Paris, the ensemble headed off to Italy for additional gigs. They were packing them in @ Club Bussola di Bernardini near Viareggio where Ruth was the darling of the Italian Riviera at the time. In 1967, the ensemble were back in the US and jumping between regular bookings at the Cheetah Clubs in New York & Chicago. It seems that Karl & the guys had an EP released (by Barclays) in France after their gigs (with Ruth) in the country -- I don't believe Ruth appeared on any of the tracks on the record though .....

Found a report that members of Gladys Knight & the Pips were injured in a highway crash near Fairfax, Va while touring (January 1962). No detail on whether they had to cancel any proposed gigs.

A few extra facts on Marie to update the above ..... When she was touring with Jersey Joe Walcott in January 1952, the revue (booked by Glaser's Assoc Booking Agency) was pulling in $1,500 a night. The backing singers on the tour were named the Knightingales, reinforcing Marie's position on the package. In 1954 she was said to be involved in a love affair with Sonny Carter, the singer with the Joe Thomas Band -- this could have been a front to deflect gossip about her long affair with Rosetta Tharpe. But by 1955, Marie & Rosetta split following a big argument, so the earlier story may have been true. Marie immediately went out as a solo act playing night clubs performing jazz & blues numbers. In 1959, it was reported that she was making good money from her regular night club gigs. While in Miami for some night club gigs in March 1962 (see Knight Beat ad above), she did a guest solo gospel spot at a Sunday service in a local church. In Feb 62 she was signed up by Queens Artists Booking Agency and was expected to be signed to a deal with Columbia Records (here deal with Okeh must have expired, however she next turned up on Diamond Records). Later that year (62) she undertook a 23 day long tour of Sweden along with King Coleman, Lester Young & others.

Yes you're right. Marvin Marshall was musical director (& guitar player) for the Supremes & then for the Temptations for a while in the 70's (I believe). He also played on Ronnie McNeir recordings. Guess others who backed up Motown artists on the road (at times) were Tony Newton, Andrew Smith, Johnny Griffith, Richard Allen, etc.

A 1972 chart .........

Studio 76 in New York was owned by Ed Chalpin who ran PPX Enterprises. PPX had it's own label (but mostly licensed stuff out to bigger outfits) + links with RSVP Records. In 1965 / 67 the likes of Curtis Knight & the Squires (who included Jimi Hendrix in their line-up) used Studio 76 a lot. Some of their tracks escaped on RSVP. These are (some of) the tracks that have been issued many times down the years, re-badged as by Jimi Hendrix (sometimes Jimi Hendrix & Curtis Knight).

Probably dates from the mid 60's when Don (& Leo) were cutting demos for DCP ...... Don Costa Productions ....

Ruth was touring in 1960 on a bill topped by Jackie Wilson. She played the Regal Theatre in Chicago in June that year ......

It seems that Choker & his orchestra backed up the Motortown Review (incl Stevie Wonder) @ the Regal Theatre in Chicago . A picture off the net ................

A PIECE OFF THE NET by Bay area musician LARRY VANN .............. .... We played the Oakland clubs. We were able to get our feet wet with great R&B acts such as The Whispers, The Ballads, Marvin Holmes and the Uptights. We gained a lot of ground. It was a great time to learn and be on the scene – getting our feet wet with great R&B acts, the great talent in the area. We played the big rooms in the area. One was the Continental Club in Oakland - they brought James Brown, Bobby Bland, Charles Brown; another was The Sportsman Club, one of the premier Black clubs in Oakland. Some of the artists they brought were Jerry Butler, The Impressions, and Major Lance. And history tells us that Billy Holiday also played there, but that was before my time, but still very interesting information. Another premier club in Oakland was the Showcase. Some of the artists they brought were Johnny Talbot and Johnny Hartsman. These were all premier “cats” in the area we had to gauge ourselves from and learn from. It was an important time in my musical growth. In 1966 or ’67 I went on my first tour – it was with The Whispers. We were part of a “review”. I didn’t know it at the time, but I was able to be on the “Chitlin’ Circuit” right before it ended. Many of the clubs in the circuit unfortunately closed. At that time it was an incredible circuit. You could see some of the biggest names. While out on that tour, I met: Buddy Miles in Omaha, Nebraska at the Paul B. Allen Showcase; Sam and Dave – we opened for them in Buffalo, New York at the Dellwood Dance Hall. We almost starved a week before they came because something went wrong with the booking and we were there one week before they arrived, in the dead of winter. I also met Dyke of Dyke and the Blazers who did “Funky Broadway” down in Phoenix where he lived. He used to always come see us all the time when I was with The Whispers. This was an incredible tour for me, a big, big journey for me in my career. I learned and grew a lot, I learned a lot about life .......

Seems Motown hired guys from all over to play in bands backing their acts ............... got this off the net ....... LARRY VANN -- My earliest performances started with the NAACP Talent Shows in the Oakland/San Francisco Bay Area where I lived. Through these shows, I was able to get my “chops” together by playing behind so many acts – there was a lot of time to prove ourselves, a lot of recognition and exposure to the up and coming Bay Area young talent. Next, we played the Oakland clubs. We were able to get our feet wet with great R&B acts such as The Whispers, The Ballards, Marvin Holmes and the Uptights. We gained a lot of ground. It was a great time to learn and be on the scene – getting our feet wet with great R&B acts, the great talent in the area. We played the big rooms in the area. One was the Continental Club in Oakland - they brought James Brown, Bobby Bland, Charles Brown; another was The Sportsman Club, one of the premier Black clubs in Oakland. Some of the artists they brought were Jerry Butler, The Impressions, and Major Lance. And history tells us that Billy Holiday also played there, but that was before my time, but still very interesting information. Another premier club in Oakland was the Showcase. Some of the artists they brought were Johnny Talbot and Johnny Hartsman. These were all premier “cats” in the area we had to gauge ourselves from and learn from. It was an important time in my musical growth. In 1966 or ’67 I went on my first tour – it was with The Whispers. We were part of a “review”. I didn’t know it at the time, but I was able to be on the “Chitlin’ Circuit” right before it ended. Many of the clubs in the circuit unfortunately closed. At that time it was an incredible circuit. You could see some of the biggest names. While out on that tour, I met: Buddy Miles in Omaha, Nebraska at the Paul B. Allen Showcase; Sam and Dave – we opened for them in Buffalo, New York at the Dellwood Dance Hall. We almost starved a week before they came because something went wrong with the booking and we were there one week before they arrived, in the dead of winter. I also met Dike of Dike and the Blazers who did “Funky Broadway” down in Phoenix where he lived. He used to always come see us all the time when I was with The Whispers. This was an incredible tour for me, a big, big journey for me in my career. I learned and grew a lot, I learned a lot about life. My work with Motown started in the late 60’s, working in the backup band for The Marvelettes. We got picked up to play in their backup band while they were in our area. Also in the late 60’s, I was a part of the Temptations Review. We didn’t back them up, just in the same review. That was really a treat – they were really hot at that time. I had the pleasure of working with Curtis Mayfield and The Impressions – their drummer spent a lot of time with me. He saw I was just a young brother, new to the scene. He was the first one to show me about rudiments, taking me aside to give me some training. I learned a lot just hanging out with him and watching him play – he was a master drummer. He came to an unfortunate end. While touring down south, driving over an icy bridge, they lost control of the car. They were also pulling a trailer. The car fell over into an icy river and everyone perished. It was a really sad, sad note for me to find out about that. I always looked forward to them coming to the Oakland/San Francisco Bay Area. We would usually get together and kick it, so this was really a big loss for the music community and me. Another highlight in my career was in the ’70s, while working with Marvin Holmes and Justice. We worked with Rufus Thomas, Mr. “Do the Dog”, the father of the great Carla Thomas. Rufus Thomas taught me how to end songs. I used to just do “a feel”, then do a lot of rolls/movements, playing off the cymbals. He stopped me at a rehearsal Ð he said, “drummer, don’t ever end like that. End like this…”. He then showed me how to do a flam and then roll on the cymbals, making a big swell with the ending chord. I never forgot that – he showed me how to end a song. That was an incredible highlight to perform behind Rufus Thomas. Also in the 70’s, I was back with The Whispers. I went to Europe for the first time, Geneva, Switzerland. We performed there for about a month. After that, I became a staff musician for the Soul Train Records, developed by Don Cornelius and the great Black promoter, Dick Griffey. We recorded the first Soul Train Gang LP, down on Sunset Boulevard at the RCA studio. During that time, we also did the “Midnight Special” television show. Working as a staff musician for Soul Train Records was a big moment for me. It was also great working with Don Cornelius and Dick Griffey.

Guess Johnny Talbot & his band / orchestra were one outfit used by Motown to back up their artists ......

Yes, I also miss getting together with this couple these days ............. Macce's finest ............

Another Gene McDaniels cut that Georgie did better than the original (IMHO) was "Point Of No Return" which was a main stay in Georgie's live act back in the day. Georgie liked his soul covers to be LP tracks & fell out with his record label when they insisted that a cover of a Billy Stewart track (Sitting In The Park ?) came out on 45.

Couldn't have picked a better label name me thinks !?!?!

Georgie cut many covers of soul songs coz he loved R&B / jazz so much. His live act (back in the 60's) consisted of just about all soul songs & with him playing a Hammond B3, he could add that Stax feel to many. He did by far the best version of "Tower of Strength" IMHO.

Berry Gordy must have gotten EVD & the Funk Bros to back up his acts on these shows ...... ....... BUT THEN .... the venue was only a few minutes drive from the studios ....

I guess that Hamilton Bohannon must have worked with the likes of Carolyn Crawford & Liz Lands at Motown which is why he had them as lead vocalists in his band after he went solo & recorded in his own right.