Roburt

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.

In the early 1970's, 70p (or less) bought you some goodies .......... ..... an extract from a Contempo list from around then .........

According to a newspaper article on Bobby that dates from early summer 1982, his cut "Get a Hold of Yourself" (c/w "Daydreamin Nights Away") was originally planned to escape in mid June 1982 on Showroom Records. An album was to follow closely after the 45. I guess that original release fell through as I don't know of any releases on Showroom Records at that time. Makes you wonder if all the proposed album tracks had been laid down though. If so, no doubt there are some more decent tracks out there that have yet to escape from the tape vaults.

"Going out of my mind" sounds very familiar (didn't know I knew it till now). I guess Richard must have played it a lot at Clifton Halls in the early 80's. Move Records had a deal with Chris Bartley in the mid 80's (via Bill Downs). Pity his guys hadn't kept copies of his unreleased tracks or they could have made them available for UK release back then as well.

Bobby Finch joined Jimmy Briscoe & the Beavers in 1977 and I think this was the first recording he appeared on ......... https://www.youtube.com/watch?v=1G1GMDt7uSk I don't think he was still with the group in 1979 but he may still have been on their Salsoul recording "Into The Milky Way".

Bevnik Records was based out of Baltimore and is also known for releases by First Class, Jay Player, Checker Kabb & Fabulous Friends. ......... SEE HERE ............ https://www.discogs.com/label/Bevnik+Records A 1983 piece about Baltimore's answer to Michael Jackson: Bobby Finch ...............

Over 2,500 hits on just this youtube vid ............... https://www.youtube.com/watch?v=oqnVHJ5twgM

The 45 does look good .............

Thought I would post up these links for 2 current Angel City Records artists ............ Xiantoni Lynch .... https://www.angelcityentertainment.info/#!xiantoni-lynch/c1enr Xavier ................ https://www.angelcityentertainment.info/#!xavier/cve1 There are music vids of both performing and I must say they are quite impressive. Mind you that shouldn't be a major surprise, as their mother is none other than Gwen Owens. Xiantoni's track was originally download only but Gwen tells me that the track is now also available on vinyl, though I can only find it for sale at present on Angel City's own web site ..... BTW, the B side of the 45 features a track most here will know >> "Just Say You're Wanted (& Needed)" .... .... ..... https://www.angelcityentertainment.info/#!merc/c1yqi ..... AS THE 45 IS A LIMITED EDITION (500 copies) RELEASE, I GUESS IT WILL NOT BE MADE MORE GENERALLY AVAILABLE. Info on Xiantoni Lynch was posted up on a thread here earlier in the year (but not the above links) ....... ......

A few of the various 45 variations ..............

If I recall correctly, they had a private box reserved for them but some nights would let mates use it instead of themselves -- they'd usually only attend one show as well (the night I went there were 2 houses; 1st started about 6.30 & the 2nd about 9pm)

You're right about Brian Epstein being involved. He owned the Saville Theatre at that time & the Beatles were in the audience for a great many of those shows.

A ticket for a show staged @ the Nite Owl in Leicester on 24th March 67. It was a long time ago & I can't even remember how I ended up with this as I didn't start attending sessions at the Nite Owl till May 67. No idea who was backing Lucas up that night (probably Mike Cotton Sound though).

Wigan Casino ........ was closed down in 1981 under pressure from the police and the local authority as drugs gangs had the venue in its grip. Copied from ..... https://www.leicestermercury.co.uk/Lost-Tribes-Leicestershire-Northern-Soul/story-12027767-detail/story.html#axzz2hc4JfQsC

Locals up in Norfolk could also have signed up for a USAF related course that has just finished (though no doubt little of the info detailed in the lectures would have related to visiting entertainers on the bases). The bases just over the Suffolk border (though many of the personnel who work on them actually live at RAF Feltwell which is a couple of miles away in Norfolk) also had their own newspaper / magazine, Jet48. Some of the later editions of this are now available on line. I scanned a few issues of it (from 2006) but the only black music related item I have found so far is a piece on a Tim Westwood visit to the base ...... see Page 7 here >> https://www.lakenheath.af.mil/shared/media/document/AFD-070112-011.pdf

Sales levels have been released for the show and it seems that for 35 of the 36 weeks it had been running so far it has taken over $1million. The 36th week it fell short by just over $40,000. One week it took 106% of potential gross (over $1.5million -- meaning every seat was sold + standing room sales on top)

Here's the link to the piece about Jimi Hendrix playing the Orford in Norwich on Thursday 25th January 67 ........ https://2ndair.wordpress.com/2013/10/03/hendrix-at-norwich/ Hendrix had been on at the Mojo in Sheffield (a normal Sunday night session; 5/- entry) on 8th January 67, I was in the crowd that night. He'd been on at the Wheel niter on the Saturday night. I saw Hendrix agin (though we really went to see Garnet Mimms) at the Saville Theatre (London) on Sunday 7th May (67) and got to see Lucas + Mike Cotton Sound perform at the Skyline Ballroom in Hull on Thursday 8th June (67).

Upper Heyford outside Oxford used to be a big US airbase and RAF Croughton (next door to Heyford) is a US spy base. The Yanks pulled out of Upper Heyford in 1992 though they were still flying bombing missions to the Gulf from there in 1991. RAF Croughton is still staffed by the US military. From 1990 to 92 I used to drive past both bases daily on my way to work in Oxford. I'd be passed by US Cops in a big American car many mornings as they went from base to base or to one of the military housing estates in the area. It always seemed strange being overtaken by a speeding car all badged up as US Military Police on those quiet Oxfordshire back roads. Unfortunately I never got the chance to go on the Heyford base when it was active, though I know some locals did get invites to play ten pin bowling or use the American Diner on the base.

As "Write Me A Letter" sounded so old fashioned (outdated) to me I decided to give "Please Believe Me" a listen .... ..... AND YES ... there sound had progressed in that short period. That Ravens track .........

There are still active USAF bases in Norfolk (Lakenheath, Mildenhall) but with modern day security measures I don't think Brits can get in to make use of the entertainment facilities anymore. With the strong US military presence in the area since the 40's, their is a dedicated USAF Library that I believe is in the centre of Norwich. I know the likes of Kenny Hamber played gigs at those bases (& Upper Heyford) in 1991 but it isn't an easy task to ID which other groups, acts played gigs there back in the 60's & 70's. You would think details like which artists played shows there would have been documented but I can't find any details after doing an on-line search. The only thing music related that I could find on the US Library's site was an article about Jimmy Hendrix playing a gig (along with Geno Washington & RJB) at a Norwich pub back around 1967. I recall B&S included a 'Stars & Stripes' section in the mag in the early 70's for some months and that section detailed events taking place on US bases over here. I also seem to recall a Wilson Pickett led revue show playing some of the British US bases before doing a couple of shows for the public here. Will have to look out those editions of B&S to see what shows on bases were mentioned at the time. OF COURSE, lots of US servicemen would get leave on weekends (while over here) & head up to London to sample the clubs there. Lots of others actually formed groups or performed as solo singers on (& off) those bases .... which is how we ended up with the likes of Geno Washington plus others here.

Two venues in Baltimore in April 1948 that had visiting acts on. The Royal Theatre was featuring the Ravens as their top of the bill act, whilst the Astoria Musical Bar was playing host to jazz outfits like the Gene Redd Trio. The Ravens would have been touring at the time on the back of their 1st big hit "Write Me A Letter". If this was a doo-wop track it was a very primitive one.

Well I don't know how most small studios got everyone involved on their recording sessions without breakin the bank, but at least one southern based studio made use of the kids in the local college band to ensure brass, strings & the like were in evidence on their recordings. These visiting players supplemented the studio house band. Backing singers weren't usually a problem as loads of guys (gals) looking to land themselves a session would first help out on other projects to get some studio experience / impress a producer.

I'll have to throw the Dells 1956 version of "Oh What a Night" into the mix for consideration. https://www.youtube.com/watch?v=Z1ozQT8yQXA

I think we need input from RobbK or someone with similar knowledge of doo-wop tracks. I'd personally be more interested in which individual tracks to the overall sound onwards to early soul as I guess it wasn't the output of just one or two groups that progressed things back then. Lots of times (in the 50's, 60's & 70's) a group would make a certain type of track coz that's what their record company wanted from them, rather than because it was what the individual group members had a burning desire to cut ..... but of course that wasn't always the case. THEN AGAIN, it could have been a singer / songwriter moving a sound forward (guys like Curtis Mayfield & Smokey Robinson spring to mind) or it could have been a producer that was moving forward with the acts he was working with. I'd say there's no one easy simple answer to this question.