Roburt

There are a few bits about the 60's club scene in Sheffield here ............... ..... https://jackthatcatwasclean.blogspot.co.uk/search/label/sheffield A short extract from one of them ............. ....... After all I was Mod — which means modern, not a hippie freak, not a nasty greaser, a Mod, a sophistiCAT, at least in my mind that is but nobody seemed to appreciate it or understood it except my weekend mates. Then I had an epiphany ..........

Linked piece on the threatened studio here ............... https://www.deadlinedetroit.com/articles/7422/you_can_pretend_you_are_berry_gordy_at_the_historic_united_sound_systems_open_house#.Uqyq-vRdWMF

Posted up on Facebook, a link to a piece on United Sound Studio in Detroit ............. https://deadlinedetroit.com/articles/7591/let_there_be_music_george_clinton_puts_the_sound_back_in_united_sound_systems#.Uqyie_RdWMF

If a track was over 50 yrs old and included as 'out-of copyright' on a release in recent times, then that release (CD) can still be sold OK. The extension of copyrights from 50 to 70 years will not apply for such tracks. But tracks originally released in 63 and onwards will no longer be 'out-of-copyright' in the near future.

A decent radio show ......... a few mistakes with regard to facts but they aren't important when measured against the enthusiasm of these guys (& gals). PLUS ... any guy that nominates the Kittens "Ain't No More Room" as his fave track is more than OK in my book.

I'd nominate a quite left-field choice ........ late 70's LA based Emkay Records. But that's just coz I'm more into later sounds and more x-over stuff. The majority of tracks released on 45's on the label sound great to me and those 45's certainly are rare.

My old bio on Morris ........... the NS Morris was about 30 years old when the actor was born .......... 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. Around 2005, Morris was told about the popularity of his old records with UK soul fans. He therefore learnt 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 were made 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 finally resulted in Morris being booked to come over here to perform at the Prestatyn Weekender in March 2007.

I have a few interesting ads for big soul shows staged in B'more in March 66. The 1st one was held at the Coliseum on Saturday March 19th (66). Top of the bill was Jnr Walker & the All Stars and 4 local acts were the support performers. I'n almost certain that Dee Dee Clark was a locally based exotic dancer that had nothing to do at all with Chicago based singer Dee Clark. HOWEVER my question is about another person on the bill, Little Jimmy Shuler (see ad). I believe that this was actually a guy who went by the name of Little Jimmy Shula (different spelling) and put that error down to the newspaper's type setter. But the ad refers to his signature song -- "Where Is My Baby". I would guess that this had recently been released as a 45 cut by a little local label. But I can't find any references on the net to any such record. Anyone here know anything about Little Jimmy and any records he had out.

An early Baltimore based recording studio was owned / run by local businessman Henry O. Berman. It was located at 12 East Lombard Street in the city centre. Henry Berman ran a company that sold radios, tuners & tubes / valves for the same (& tape recorders) back then & so I guess, having up a recording studio in the building, would fit in well. The likes of Ethel Ennis used the studio back in the 1950’s with Rita (Doryse) & the Upsetters cutting there in 1964. Berman was an old guy (born in 1898) and it seems his recording studio had gone by the end of the 60’s. The building that housed the facility was demolished some time ago and Berman himself passed away at the end of the 1970’s. Anyone know anything more about Berman's business, his recording studio or any other tracks cut there ?? I don't believe he had his own record label and so it's really only acetates made at the place that will be badged up and so easily identifiable.

A recent book PLUS an upcoming book that look like they will make interesting reading .................. ............ George Clinton and P-Funk https://www.amazon.co.uk/George-Clinton-P-Funk-Marcel-Visser/dp/9045315483/ref=sr_1_1?s=books&ie=UTF8&qid=1386576004&sr=1-1&keywords=George+Clinton+and+P-Funk Respect Yourself -- Stax Records and the Soul Explosion By Robert Gordon https://www.amazon.co.uk/Respect-Yourself-Stax-Records-Explosion/dp/1596915773/ref=sr_1_1?s=books&ie=UTF8&qid=1386576051&sr=1-1&keywords=RESPECT+YOURSELF+Stax+Records+and+the+Soul+Explosion

Another recent CD release from 'History of Soul' is their "Witchcraft In The Air' 2-fer CD compilation. This features 53 tracks from Detroit's early soul output, including the title track from Bettye LaVette. All cuts date from 1957 to 1962 so are out of copyright and some are rare on original 45. Some sound quite dated but others have stood the test of time quite well. ........... MORE INFO HERE .............. https://www.historyofsoul.net/newyork.html#detroit You can listen to snippets of every track & buy the package (£7.27 incl free P&P) from Amazon UK .......... https://www.amazon.co.uk/Witchcraft-The-Detroit-Soul-1957-1962/dp/B00G3HPSNS/ref=pd_bxgy_m_h__text_y

It is askin 2 much ............... neither jazz buffs or soul lovers would ask so much !!!!

A scan of the relevant bits from the Baltimore newspaper in April 62 .........

In a 1962 US newspaper piece ................... "Soul" brothers & sisters will find a trip to the Lyric rewarding. There they will find the "Soul Genius" Ray Charles serving up such smash hits as ......

A big jazz & pop hit in 1964 ......... https://www.youtube.com/watch?v=caFcdMhb2Mc

An extract from a chapter of my (upcoming) book ...... this chapter deals with the 1940's / 50's entertainment scene in Baltimore .............. .... APRIL 1952 .... the Comedy Club was staging a really strong line-up in the Rene Hall Trio plus Dog Bagby (both acts still to enjoy their best commercial record successes). Doc Bagby was an interesting guy. Back in 1948, he had helped pen a tune titled “Rock The Joint” which had become a R&B hit in 1949. The song was cut yet again in 1952 by Bill Haley. Using a lick lifted from the song, “Rock Around The Clock” was written in 1955 and once again Bill Haley recorded the song. The rest is history. Taking the 1948 Wynonie Harris hit "Good Rockin Tonight" as it's inspiration, "Rock The Joint" had been penned. The song was offered to Gotham recording act Jimmy Preston & his Prestonians. They cut the song in Philly and had a big R&B hit with it in September 1949. I guess this recording's history is typical of those times, The Jimmy Preston version sold to (mainly) a black audience and it was only later that it became known to white music fans. When discovered by the white audience it was credited as one of the first 'Rock & Roll' records. Haley's version was dubbed a rockabilly cut as he changed some words and cut it in more of a C&W influenced style.

A typical Hip Joints track ............. "Rock Hopper" ............. It was a tune similar to this that they played when Lou Ragland joined them up on the stage at the Old Trout gig .... ....... he just made up words that went well with the funky vibe and the jam went on for 6+ minutes. https://www.youtube.com/watch?v=oLUnEai5aes

Lou Ragland had a great night @ the Old Trout. He performed his spot over backing tapes and afterwards was called up on stage for an impromtu jam with the UK band (Hip Joints ?) who were also on that night (I have a cassette recording of Lou & the band's extended number here somewhere). Also went the night Sidney Joe Qualls was on, that was another gudun. Got some photos of SJQ and Lou at the place but no idea where they are at present.

As is stated above, the packaging is top class. The folder, 50 page booklet (including loads of great photos of the artists), 6 x 45's & 6 x CD's all come together to make a great present (even if you're only rewarding yourself).

Frank came over to the UK with John Ellison recently and was selling copies of the 45's as single items. I already had a copy of the full package so didn't buy any (extra) copies of the 45's. I'm sure a few UK soulies must have done so though.

I got to spend some time with Oliver in the mid 80's up in Scotland (when he was signed to Move Records). He was a very amiable guy, easy to get on with and very down to earth for someone who had enjoyed a few big hits. I loved a few tracks off his Oliver LP 'The Boss' and his album with Round-Trip but "Get Down Saturday Night" has always been my top fave from him. https://www.youtube.com/watch?v=t2UZ7BGRkE4 A Round-Trip cut ................ https://www.youtube.com/watch?v=qTsbxY7MTl8 R.I.P.

Dave, you must have started a few years after many other UK soul fans. We (my mates & I) were collecting UK soul 45's from 1965. Much of what we chased were records we only knew about from hearing in the clubs OR (as you say) from 'word of mouth' recommendations. We couldn't get US import 45's back then (or they were very very rare at least ... though I did pick up a few Euro released soul import 45s from 2nd hand shops in Hull -- a busy port -- in the mid to late 60's). HOWEVER, at some specialist 2nd hand record shops, from market stalls & in London record shops you could pick up UK demo 45's reasonably easily (if you went looking for them). I have a couple of UK Brunswick demo 45's similar to the above Sylvia Sims (nowt special though).

Yep you're right Dave BUT it only seems to be available in Kindle format these days (unless you buy a 2nd hand copy). Is it worth chasing up a decent 'paper copy' ?

Anyone here read 'Motown: The Golden Years' -- Bill Dahl ?? It's Kindle only so for me that's a bit of a drawback but may consider going electronic virtual book friendly in the future. It is a decent price @ under a fiver and the photos were sourced from Weldon McDougal, so they're both plus points.