Roburt

By the way, in case you're interested ............... back in 1960 ............... Virgie's measurements were 36 - 24 - 42 and she was 5' 7" tall (sounds like she had quite a booty on her).

Bobby Martin in his element ............. ... with the MFSB guys ........

As Virgie Til seems to figure in a major way on this thread, thought I'd post this here ........... Virgie had hooked up with 'her brother' Sonny Til by 1960 but it still didn't stop her from 'looking elsewhere'. When Jackie Wilson hit B'more in late January 1960, she volunteered to go along to his show and (with a local beauty queen) present Jackie with the 'Top Recording Star of 1959' award while dressed in what looked like a bathing costume. I suppose she was just taking every opportunity to gain publicity and to further her singing career. Whatever the reason, her efforts to advance her singing career paid off as she was landing top local club bookings by the mid 60's and also landed a record deal with Glover Records ..............

Z Z Hill in 73, with much help from 'Swamp Dogg' ...........

WEYHEY, our kids just confirmed he's got us both a ticket for this event. Now, where's me snowshoes just in case !!! Hope they serve John Smiths at the Wilton.

TRC in 73 ... with Neal Kimble & Raeletts 45's to the fore ....

Mid 70's now ...................

Jumping forward to 78 now .............

Soul Inc. who had a 45 out on Laurie in 1968 were a similar white group but they were from Louisville (Kentucky) and not connected to the outfit who recorded for South Carolina based Emblem Records.

AND the Soul Inc 45 for comparison ........ .. this version says 'RECORDED LIVE AT THE CELLAR', so that must explain the different versions ..... ........ producer & arranger details are different too .....

Another one from Chess back in July 65 ............. ..... shootin up just like an arrow ........

A cartoon strip from the Wipers Times ..............

...... COMING SOON ......... Muscle Shoals (director Greg “Freddy Camalier) A new documentary that has the impact of a musical freight train, Muscle Shoals chronicles the men and stars behind Fame Recording Studios in the small Alabama town called Muscle Shoals. Narrated by Bono (watch his talk, “The good news on poverty”), Keith Richards, Percy Sledge, Aretha Franklin, Alicia Keys and others, the film features interviews with founder Rick Hall and his surprising back-up band, The Swampers, a group of local white teenagers. They looked, as the film says, like they worked at Walmart, but found within themselves the miraculous ability to endow singers like Franklin — not to mention bands from the Stones to Traffic – with a missing ingredient called soul. The Swampers eventually become Hall’s rivals, but the film wraps the whole story in glorious music and feel-good imagery. This Southern place exudes a special charm keyed to the rhythms of the Tennessee River and its green fields. Less known than it should be to music lovers, Muscle Shoals documents a center of the music scene that rivals Motown. ........................................ AND .............. Muscle Shoals (Original Motion Picture Soundtrack) -- Various Artists (Soundtrack Music) Expected Release Date : September 24th, 2013 â„— 2013 Universal Republic Records, a division of UMG Recordings, Inc. TRACKLISTING You Better Move On -- Arthur Alexander Steal Away -- Jimmy Hughes When a Man Loves a Woman -- Percy Sledge I Never Loved a Man (The Way I Love You) -- Aretha Franklin Tell Mama -- Etta James Patches -- Clarence Carter Hey Jude -- Wilson Pickett Free Bird -- Lynyrd Skynyrd I'll Take You There -- The Staple Singers Sitting In Limbo -- Jimmy Cliff (Sometimes I Feel So) Uninspired -- Traffic Kodachrome -- Paul Simon Pressing On -- Alicia Keys

Billy Stewart didn't do too bad out of 'old standards' too ........... .... AND they said you can't teach old standards new tricks .... ....... me thinks some soul stars could !!

Didn't their deal with Kapp come via GWP ?

No doubt someone at Kent compiled a comprehensive list of his songs when they had this project in preparation ......... https://www.amazon.co.uk/Something-New-Phillip-Mitchell-Songbook/dp/B00BPBWYUC/ref=sr_1_1?s=music&ie=UTF8&qid=1378888905&sr=1-1&keywords=something+new+to+do Guess there are demos by him of the majority of the songs he wrote down the years.

Ady, while you're totally correct on those acts recorded tracks (Aretha, JB, Temps, Al Green, Otis), I believe all of them (at times) included showbiz type songs in their live show repertoires to ensure everyone in their audience was kept happy. Acts that played the Copa in NY (& Vegas venues) always had to include show tunes in their act.

Bob, where a 3 / 4 pronged UK 45 solid centre has been dinked out, you can see the indentations next to where the prong went.

It's hard to ID every UK 45 that was pressed up with both solid centres & plastic spider centres as so many appeared in both formats. To pick on one label, take say Polydor UK .................. They made 2 types of 'solid centre' 45's ........ ones with a true solid centre (such as the Marva Josie 45 shown below) and ones with 3 pronged centres that could be dinked out for jukebox use. This practice seemed to hold firm thru to 1968. From 1968 onwards, Polydor made both solid centre & plastic spider centred 45's. If a 45 sold well, it could appear in both formats. If a 45 was re-promoted, again the 2nd press may have been spider centred (such as Edwin's "Stop Her On Sight"). I'd guess that as "Centre City" sold so well in the UK, it was pressed up in both forms. To answer your question ........ YES, I think the single pictured in the ebay auction had a spider snap in adapter when it was manufactured that someone just took out. I can't be certain (memory is lapsing fast in old age) but I'm sure my UK 45 copy of "Center City" has a solid centre.

Also states on the album cover ........ Produced by Arthur Smith .... this was not in fact true !!!

Track 1 Side 1 of 'The Untouchables' LP (LPSS 104) ....... "What Goes Up (Must Come Down)" -- Soul Incorporated .... (Soul Inc.) Produced by Arthur Smith. A USA 'Boo' Recording ...... 1967 The above is copied straight off the back sleeve of the LP.

As has already been stated above, the goal of all labels, producers, artists, groups was to have hit records & thereby increase their live fees and bookings. A soul hit that crossed over onto the pop charts also increased the bookings the artist / group would get in 'white clubs' which many times were classier places that paid acts more to perform. The Hesitations & their studio team were no different in their attitude to success, however it was achieved. Anyway, a snippet from a piece I wrote on the group ....... The group's first 45 to be released was “Soul Superman / I’m Not Built That Way” (Kapp #790) and this hit the shops in December 1966. This entered the national R&B chart in mid January 1967, making the Top 50. In all, 8 tracks were lifted from the ‘Soul Superman’ album for single release (“Wait A Minute” being one) with “She Won’t Come Back / I’ll Be Right There” (April 1967) being another great coupling. Kapp (& Gerald Purcell’s GWP Associates) teamed the group with other producers on their next recording session in the fall of 1967. In Chicago, with Larry Banks & Teacho Wiltshire, the group started cut tracks for their follow-up album. During this period though, tragedy struck the group. During a car journey, a gun accidently went off and George Scott was shot dead. Out of respect for George, the group soldiered on. In December, their new 45 was released; “Born Free”. Whilst they undertook tribute shows to honor George, their distinctive take on “Born Free” entered the national R&B charts (January 1968). Booked onto a prestigious show at Harlem’s Apollo Theatre, they were short of a replacement for George. Luckily an old friend, Bill Brent was in New York (with the Drifters) and so he joined them on this gig. Kapp released the groups ‘The New Born Free’ album in February and this also sold well, making the R&B album chart Top 40. These successes helped Bill Brent decide to quit the Drifters and take George’s place in the Hesitations. As the group now had a constant stream of live work, Wardell Taylor was recruited as their drummer. By early March their 45 was # 4 on the Billboard R&B chart and was also on the Top 40 pop chart. Even though cuts such as “Push A Little Harder” were featured on their LP, none of the other album tracks were in a similar vein to “Born Free”. So “The Impossible Dream” was selected, cut & released as the group’s follow-up single (March 1968). This again made the R&B and pop charts, ensuring that they enjoyed an unbroken stint of 18 weeks on the national charts. Three further 45’s and two albums (‘Where We’re At’ & ‘Solid Gold’) were to escape on Kapp. Most of these tracks were recorded at RCA’s Chicago studio under the supervision of Teacho Wiltshire, Larry Banks & Johnny Pate, though the odd track was cut in New York. Their final entry on the Top 40 R&B singles chart proved to be “Who Will Answer” (July 1968). In November that year, the group undertook a tour of US Bases in Germany but GWP’s relationship with Kapp was ending.

The page on DISCOGS that lists the stuff he worked on misses out much of what he did in the 1960's .... BUT ... it still shows some of the great tracks he had a hand in .......... https://www.discogs.com/artist/Bobby+Martin#t=Credits_Production&q=&p=1 RIP Bobby, TheSOP wouldn't have been what it was without your massive contribution.

Summer 65 and Chess were also going strong ............

Atlantic were going full steam ahead in July 1965 ..............