Roburt

Bet he (& Bear Family) has no idea where John Harris is today though (or knows how to contact him anymore).

Ian Dewhirst, Ady ..... OR .. Paul Mooney. In foreign territories (such as Germany or the UK for Americans), I think they have to be signed up to a local rep. AT LEAST, American song writers, to get their UK royalties, have to be signed up to the likes of Paul Mooney to be sure to get their cash (I know coz my mate Lou Ragland is signed up with Paul).

Songwriters royalties are always due the writers. Usually all the money goes to the label owner & then he has to pass a % on. That's if Harris & Cook have registered the song with BMI / ASCAP / GEMA or the like ... AND ... that organisation knows their current contact details ....... AND that someone at Kerston / Bear Family wants to try to track them down to pass money along.

You don't need to tell me, tell Bearsy !!!

The group were USAF guys based in Germany in the 1960's. They played together in GI Clubs on military bases in the area for a short while & then moved on with their careers / lives. Their song was written by Cook / Harris, so that will be John Harris himself & another guy in the group by the name of Cook. Apart from that little or nothing is known about this short lived group made up of guys in the military that were posted to a base in Germany at around the same time (probably Ramstein airbase near K-Town aka Kaiserslautern). So ALL you have to do is chase down as US guy called John Harris (or one called Cook) who could be living anywhere in the US (or world) and who was (over 40 years ago) in the USAF. TASK SHOULD BE DEAD EASY ... BUT ... I'll leave you to get on with it yourself

Jamguy is Frank Lipsius, the son of the original Jamie / Guyden guy who also distributed numerous other labels (Arctic for instance). He will be in the UK (again) in a few weeks with John Ellison. He's available for radio / magazine interviews (he's promoting his big Arctic Records CD/ vinyl package still) whilst here. Anyone interested can make contact with him via me if they like. Whatever info is still around (from his father's old files or from his Philly contacts) on Moses Smith he will be able to pass along I'm sure.

Yep, its the same guy.

A gospel trio (Brenda, Carl & Shirley) who cut in 1976 .......... B. C. & S. with "Sunshine" ............. https://www.youtube.com/watch?v=ZnkmaaIo76E

A female outing from the same year ........... ... Beverly Glenn ... "Lord, Help Me Make It Thru The Night" ... https://www.youtube.com/watch?v=oIKXk1yVG3I

Savoy was a major player in the gospel field thru the 1950's, 1960's and into the 1970's. The label put out loads of great tracks during that period, anyone out there got any particular faves or recommendations. I'll start of with this 1973 cut ...... The Metro-Tones Inc ......... "Get Together" https://www.youtube.com/watch?v=TzZQcw6HPvA

Kim, check this site for full info ............. https://www.baltimoresounds.com/ Updated version of the book (2nd edition) out now I believe.

YEP got that one. That was the easiest to obtain as I was a Mighty Dodo back in the day.

Got all the Spark demos now Kegsy, chasing the Casino Classics label 45's these days !!! Will swop any Soul City 45 for one on CC's

I gave my original copy of the 45 away many moons ago (never liked this version much). Obviously should have held onto it & sold it via Manship.

Another good version of a soul standard from the group ........ https://www.youtube.com/watch?v=IU7Oma5oZg0

A great picture just posted up on Facebook ....... The picture below is from the late 1960's -- Left to Right is Marvin Holmes, Harvey Scales, Rico, Jay Peyton, Gaylord Burch (with the Uptights and then Tower of Power + Larry Graham & Central Station) A cut by the group ........... https://www.youtube.com/watch?v=Z01Ouvz_aZQ

Just received a copy (at last) of Manifesto mag # 141 (August 2013), so it seems that Mike has got his act back together. All the usual articles + 'Richard's Run Out Groove' and 'Edwin Starr -- 10 Years On'.

AND skating to music on indoor rinks doesn't just go back to the 60's in the US .......... here's an ad from 1950 for an arena on Baltimore's main black entertainment street; Pennsylvania Avenue ..... ... (it's from a black newspaper, so guess the only standard print block pics they had back then featured whites) ...

So people can see the video easier ................ https://www.youtube.com/watch?v=PdlRxByX56s

The Chrysler's entry in the 'BALTIMORE SOUNDS' book is posted up below. It states there that they appeared on TV show a total of 13 times (including Bmore's top TV music show of the late 60's - the Kerby Scott Show). None of those appearances seem to have survived on tape to the present day. Loads of top acts made appearances on the Kerby Scott TV Show, a few Motown acts being among them. ...... LUCKILY I checked Amazon tonight & picked up a copy of the book for a quid (Yahay) !!!

RE: Larry Jackson, as part of London Fog, recorded some tracks at Baltimore's Flite Three Studios in the 70's. Anyone know of other releases by an outfit named London Fog ?? They can't be the same outfit as the Ohio group London Fog I guess. That London Fog were a Dayton, Ohio based group .... so that fits in well with the other stuff Brenda Lee Jones did that was Ohio related (her work with the Buckeye Politicians for instance). More info (off the net) on the outfit .... London Fog and the Continentals appears to be two groups - the band London Fog and the vocal group the Contintentals. They were a 'Salt and Pepper' band (black singers, white band). In 1969 the band released their one and only 45 on local label Gold Stars. The A-side, "Easy Mover", was written by Dayton's Brenda Lee Jones (Jean of Dean and Jean, of course), and it's possible she sings it, but that is unconfirmed. The song was a local hit and picked up by Imperial for national release, with the band name shortened to London Fogg. ..... MORE INFO ..... .... London Fog (one "G", the band) and the Continentals (the singers). These groups came together during high school in Dayton (unusual in that they were a racially integrated band), and recorded their single in 1969. The Continentals were Quinn Moorman, Bozie Black, Loretta Reid (lead vocal on 'Easy Mover') and John Mortimer. The London Fog were Gary Kaiser (organ), Bud Kraft and Ed Toll (gtr), Vince DiSalvo (dr), Dan Connaughton (bass), Tony Giambrone and Gary Moon (tenor sax), Robert Pennington (trombone) and Mike Riley (alto sax). INFO OUT OF BALTIMORE SOUNDS book (thanx to Steve G) .......... LONDON FOG -- 9 piece soul group organized in 1970 by classmates at Forest park and NW High Schools. The group featured 3 vocalists with a rhythm section and horn section. Numerous personnel changes ensued inc guitarist Kurt hammond, drummers Jasper Lee (later with Great Train Robbery, Mascaraid, Jupiter Project) and Foster Peacock (Cabbage, Kee, River...). By 1972 the group had transformed from a Top 40 singers and band to strictly a vocal group. At one point they brought in vocalist Larry Jackson (ex Chryslers). Group leader James Junior (baritone lead vocalist, pianist, composer) had written a number of songs that were shopped to various publishers. London Fogg recorded demos at Flite Three Studios. Shortly after the studio sessions the group (sans jackson) travelled to California with ambitions to further their musical career.

Larry Jackson, as part of London Fog, recorded some tracks at Baltimore's Flite Three Studios. This is the place where the famous recording engineer George Massenburgh had started his studio work back in 1962. .......... SOME RELATED INFO ............. George Massenburgh started out playing the trombone from about age eight. Later on, he joined his high-school marching band before playing bass in a bluegrass group and an R&B band. He started out in the recording business by hanging around a small studio in Baltimore called Recordings Incorporated (on East Cold Spring Lane). That was around 1962 and the recording studio mostly handled radio and television commercials, but also cut some groups. Eventually, after working there for a while, he managed to amass some decent equipment (mikes, etc) and he build a 4 track recording machine with the help of others at the studio. Next, he constructed an entire new console. He did this not because he had a natural aptitude for building consoles but because it was the only way that he could progress to doing any 4-track recording. He soon started making some decent money (around 1964) but the next year went off to Johns Hopkins University as an Electrical Engineering major. At 15, George was working part-time both in the recording studio and also in an electronics laboratory whilst attending Baltimore Polytechnic Institute. As a sophomore, he left the University in 1967 without any additional qualifications and never returned. He authored an influential technical paper in 1972 (and is regularly published in professional journals and trade magazines worldwide). In 1973 and 1974, he was chief engineer of Studio Europa-Sonor in Paris, France and helped install a new console at Barclay Records. Down the years, Massenburg worked (individually and collaboratively) on in excess of 400 albums. His work includes recordings by Earth, Wind & Fire, Little Feat, Weather Report, Aaron Neville, Linda Ronstadt, Herbie Hancock and many more. He has designed, built and managed several recording studios, notably ITI Studios in Hunt Valley (Maryland) Blue Seas Recording in Baltimore (which was on a barge located in Baltimore harbour -- the barge sank under mysterious circumstances on Xmas Day 1977) and The Complex in Los Angeles. Jumping back to Baltimore; In 1958, Louis R Mills Jr had established Recording International (which became Recordings Incorporated and then Flite Three Studios) at Cold Spring Lane and the Alameda. The studio's first big success came about in 1960, when Al Brown and the Tune Toppers recorded "The Madison" (which became a popular dance craze) there. Al Brown's track was licensed for national distribution by Amy Records and went on to make the R&B Top 20 charts and Opo Top 30 charts. One of those who worked with Mr. Mills at Flite Three was George Massenburg. Down the years, Flite Three Studios were expanded to enable film work to be carried out there. In 1990, the interior scenes for the film 'Avalon' were shot there. A front porch and first floor of a row house having been constructed with movable walls to allow access for the cameras. Following that, part of the movie 'Species 2' was shot there in 1997. The film crew rented two studios for a six week period. The daily rate on each studio then averaging around $800. Fittingly (as the film was set in Baltimore & was based on real events that occurred in the city), 'Hairspray' was the 1st movie to be shot at Flite Three. The studio at 1140 East Cold Spring Lane (on Portage Avenue, behind the 7-11 Store) became the studio of ‘Station WZZT’, home of The Corny Collins Show in the film (1988). By then it was no longer used to record music tracks. In 2003, the studios closed their doors for good. Coincidentally, this was the actual studio where "The Madison" was originally recorded. The Madison was the 60's dance (with complicated instructions) that the film's main star Tracy Turnblat was so good at in the film's script.

Can't find any live footage of the Chryslers (even though they got to appear on TV shows back then) ..... ...... having to make do with this .............. https://www.youtube.com/watch?v=nzViAoySzD8

Tommy Vann & the Echoes ...... not back in the 60's though ........ https://www.youtube.com/watch?v=bnuTMdiRsbs

The group who were closest to the members of the Chryslers back in the day was Frankie & the Spindles ........... ....... Frankie himself (& his family) lived on Schroeder St. in west Baltimore back then ......... ....... Kenny Hamber helped school these guys in harmony singing in their young days ........... ...... here they are playing live some (many) years later ......... https://www.youtube.com/watch?v=bvaIWLoETOE