Roburt

White Greyhound flyer ... the site of the pub is now a small housing estate. BTW, the DJ who did the Hallam soul show ahead of RS used to get his 3 NS 45 plays each week from Worksop's Pete Ward (who had a record stall on Worksop market at the time).

Richard posted this on Facebook ... I remember having Cal Tjader as my intro music to Soul Sauce on Radio Hallam -- Johnny Moran (another Radio Hallam DJ) turned to me one day and said I’ve got one of those at home with a big red A on it! ... I think he gave RS his copy of the UK demo.

One of the WRBD DJ's pick of the week 45 in October 67 was the Sarah James & the Soul Babies Faro release. Why he'd pick that I have no idea. The label was from Hollywood & would have had little clout in south Florida. It's a wonder a copy of the single even found it's way to WRBD. The Soul Babies included ladies who were studio backing singer royalty -- Oma Heard, Maxine Waters & Julia Waters. Those ladies were also in the Sa-shays, the Darlings, the Sweethearts, etc. In addition to the ladies, Barry White also helped out on the Faro 45.

More info on the 2 radio stns above ... In May 1963, WPOM became WRBD ("Radio Broward") with studios on Rock Island Road in Tamarac, Florida. Four months later, WRBD became the first radio station in Broward County oriented to the local Black community, featuring south Florida radio legends like Joe Fisher, "The Crown Prince" and "The Mad Hatter". WRBD's Radio Broward designation turned into "Rockin' Big Daddy" as the format changed. A similarly formatted FM sister station, the primarily automated WRBD -FM 102.7, launched in December 1969; it became WCKO in 1971 and remained Black-oriented for much of the 1970s. The 2 Lauderdale Int 45's were released in 1975, Joey Gilmore providing lead vocals on both. I would guess the radio stn took / sent copies of both to their near neighbour, the radio stn. Whether either got plays on the stn/s I don't know. Of course, Joey Gilmore enjoyed a long recording career that stretched from 1971 right thru to Y2K. His Saadia 45's being very popular. He was also an 'ever present' on the local south Florida live show scene.

I mentioned that soul radio stn on an old SS thread ... Why Did 60's Soul Strongholds Implode in 70s ? //www.soul-source.co.uk/forums/topic/350399-why-did-60s-soul-strongholds-implode-in-70s/#comment-100061322 The local radio stn I mentioned was WCKO / WRBD which was located in Ft Lauderdale. WCKO radio stn was based out of Pompano Beach in Fort Lauderdale, it grew out of stn WRBD which had been going strong from the early 60's till 1972. So it's likely the WRBD / WCKO DJ's would head south after their radio shift to meet up with other Miami black radio DJ's & local celebs at clubs in Overtown, Miami. Overtown (the black area of Miami) was just about destroyed by the new freeway system constructed to reach downtown Miami from the north. With most of the housing in the area swept away, the clubs (that weren't also demolished) had few local clients and so soon shut down. The radio stn also seemed to suffer as it lost some of it's listeners. Lots of changes occurred in the US black radio system in the 70's. Big companies bought out the local ownerships & changed format policies. DJ's were sacked & plays of 45's from local indie labels began to dry up. On top of that of course, disco took over from soul, so play policies also changed due to that. The Lauderdale Int label was located between the I-95 highway & the Florida Turnpike, the 2 freeways that caused the devastation in Overtown. But the label's location was far enough north to escape the wholesale demolition that occurred south of Ft Lauderdale (& it was just far enough away from the I-95 to remain in place). The radio stn WCKO was based just over 4 miles to the north of the record label (so was even closer to our Florida home). I looked once but couldn't find the radio stn building (the roads in the area have changed a lot). It seems it's still there though (but looks to be out of use). It's right next to the Florida Turnpike freeway, so was lucky to escape demolition. It looks like the kind of place to have housed a radio stn.

I'll see your first blue & raise you one ... This record company was based in north Ft Lauderdale about 5 miles sth east of our Florida house. I seem to recall a local radio stn was also based in this area back in the 60's / 70's (long gone now). It looks like a simple small office & lock-up garage affair. No doubt just had a desk + a telephone & the stock was kept in the garage area.

Glad we're all friends on here. Though with statements like yours, it's difficult to realise that fact at times.

I have the Lunar-2 single. Took me ages to get a copy though. I'm somewhat disappointed in it. It's an uptempo dance track (the original song A side that is -- the B side is a cover of a pop song). Knowing that the two vocalists are black guys, their vocals come across as more like the vocals by the Searchers than by the Drifters or Coasters (the Searchers having had hits with covers of songs originally cut by those 2 groups). I guess it could have gotten spins @ the Casino in the mid 70's, when pop-ish items you could dance to were popular there. On today's NS scene, I don't think it would get any action. Still a nice item to add to my extensive collection even though the vocals aren't that soulful -- but glad I didn't pay anything like the recent going rate for this 45.

Why are so many of your posts so negative ?

The Scots of St James 45 released on Spot. Their earlier efforts were more soulful, but (like many other UK groups) they were transitioning away from a R&B type sound in 1967. The group would take on a new name (Hopscotch) shortly afterwards. They were still taking bookings at English soul clubs though (Nite Owl, Place, Tofts, Whisky A GoGo, Il Rondo, etc) .... The group's lead singer (Jimmy Oakley) made a solo 45 in 1968 ("Little Girl") which many class as a UK soul recording ...

The Tan-geers visit to WWIN's studio a while earlier didn't seem to have much of a lasting effect ... The group's Scepter 45 "This Empty Place" would have featured on the stn's chart in December 69 if it had ... WWIN didn't seem to give this Scepter outing any push at all ... (though they did seem to get behind singles put out by the Masqueraders). 2 Brits in their top 4 seems a bit off though.

WWIN was a top station back then ... & Al Jefferson was their top 'daytime' jock.

More on Ryemuse's office / studio set up in Sth Molton St, Mayfair. Spot Studios or Ryemuse Studios, was a recording studio in London, England, located in Mayfair from the 1960s to 1980. It was renamed Mayfair Recording Studios in 1974. In the early years, the studio was owned by Ryemuse Ltd and operated under the name Spot Studios. It was located at 64 South Molton Street in Mayfair, above a chemist's shop. John Hudson worked there as the chief engineer, having joined the company from BBC Television. At BBC Television he was involved in presentation, broadcasting live sound for programmes such as 'Colour Me Pop' and 'Match of the Day'. Throughout the early 1970s Hudson served as the engineer for numerous hit records produced at the studios. The studio was renamed from Spot to Mayfair in 1974. In 1977, John Hudson and his wife Kate took over the management of the studio. They bought the company in 1979. In 1980, they found a new site in Sharpleshall Street, Primrose Hill, to where they relocated the studio as the property in South Molton Street was to be sold. The likes of the Drifters, Gene Farrow, Cream, Gary Glitter & more used the studio in Sth Molton St.

A track off the Alexis Korner album ...

The Patsy & the Raybell Orch 45 ... this 45 also pressed up in Wales (Newport ?). anyone got a copy ?

It's suggested elsewhere on the net that the Spot label which the Scots of St James recorded on is an entirely different outfit to the Lunar-2 label. However, the Alexis Korner LP has the same label design as that on the Lunar-2's 45 and the sleeve of the Alex Korner LP states the labels address as 64 Molton St. The Scots of St. James publicity photo also states Spot Recs of 64 Molton St (also sometimes called South Moulton St). So Obviously the label is the same for all 3 releases. The label design for the Trojans EP is different again. A pic of one of the Lunar-2's UK backing groups (the Late) signing a joint contract with the duo ...

Spot Records were part of the Ryemuse Productions set-up. A weird outfit who mainly released church organ music & military band stuff. Though they did put out a 45 by Scots of St. James (members of who would later form the AWB) + the Glen Athens & the Trojans EP and an album by Alexis Korner Blues Inc. little else of interest to us on here exists. In addition to those 3 releases, a 45 from the Lunar-2 -- "Get It, Take It" was also released by Spot. There must have been a few copies of this around back in the day, as it was made available in both solid centre & push-out centre versions. Spot was releasing stuff from 1965 to 67. Ryemuse / Spot had an office / studio on a very posh street in Mayfair, London. The building now houses a very upmarket fashion shop (Sartorria Rossi). I have researched the Lunar-2. They were a duo who were always advertised as being from the US but they weren't. Their 45 was actually pressed up in Newport, Sth Wales, which led me (erroneously) to assume they were originally from Tiger Bay, Cardiff. They weren't even British though, but the two backing bands they performed with (over a 3 year period) were. They got to play live gigs in most of London's top soul club of the time -- the Whisky A GoGo, Uppercut, New All Star Club + @ the Starlight Ballroom Crawley, Gliderdrome, Boston, etc etc. The Spot 45 was the only thing they had released in the UK. The duo were active on the UK music scene from 65 to 69. One of the Lunar-2 cut a solo 45 in 1970 which was released in Spain. My research points to the Lunar-2 giving up on their UK music career in 1969, when it is suggested they both returned to their native Bahamas. Their UK 45 contained an original song which was written by Cartwright, Wallace & Jones with Morgan Jones being the tracks arranger. That makes me assume that the Lunar-2 were Amiel (Eric) Cartwright & Bill Wallace. The 1970 Spanish solo 45 was by Eric Cartwright. . . . . Below is a montage of pictures of the two acts ... make up your own minds ... There seems to be another 45 on Spot which JUST MAY be of interest to us ... again it was pressed up in Wales but apart from that I know nothing at all about the group or their songs ... Patsy And The Raybell Orchestra -- I'm Glad I'm Me. Anyone have any idea if this is a pop / mod / soulie sounding effort ? Much later on , Ryemuse seemed to return as a reissue outfit (lots of CD's of 60's stuff). Can anyone here shed more light on this outfit or the group Lunar-2 ?

Billy singing a Mojo anthem ...

1964 and UK R&B was still to the fore .... as can be seen from this group's booking's schedule ... it's amazing how many of their gigs were local fan organised events in local council / public buildings. Very few were in Mecca / Top Rank ballroom type venues.

Bobby was never BLAND ...

RE: Ultimately, due to perceived? drug abuse, there was an air of inevitability about the club's closure. Lots of Motown played @ the club ... BUT THEN, Motown had been in on the scene since early 64 ... (think Kegsy designed the ad for BG) ....

My obsession with Call On Me is due to the fact it's the only real TWISTED WHEEL ONLY track that stuck with me on my first few visits to the club between mid October 67 & early 68 (apart from 30th December when we arrived too late to get in & had to go to the Majestic). It struck me as odd that Bobby Bland was a major artist at the Wheel (play wise) & not at too many other 65 yo 68 UK soul clubs ... YET he's not mentioned once in the quoted section of the '6 Whitworth St Manchester' book that commenced this thread. In addition, CALL ON ME is my fave Bobby Bland track. Is that OK with you or do you have more to say on the matter.

They also do a variation on that, especially for RS .... bALDI ..... BALDI ....

Not 100% soul related .... the first protests against the-Vietnam War started around 1965 and quickly grew over the following 3 years. Many blacks were drafted & sent overseas to fight. They took their music with them & soon soul songs started to be written about Johnny / Jodie being shipped off to fight or about the ladies left back home. Nina Simone also got in on the act, with an anti-Vietnam war song. Of course, Norman Whitfield wrote "War" & had it recorded in 1970. Anyway, as youth around the world turned against the war, their protests spawned lots of spin-off stuff. Lots of anti-war badges (metal & embroidered) were on sale. Some lads on the UK soul scene got hold of the most famous style of these badges & sowed them onto tops (T-shirts, vests, jumpers). I was one who did ... The badge usually used ...

A QUESTION ..... Roger Eagle quit DJing at the Wheel in 66. With him gone, his R&B influence began to slip away. But my 1st visit to the Wheel wasn't until September 67, long after he'd left. The 1st WHEEL SOUND (a record I hadn't heard being played in Donny, Hull, Brid, Cleggy soul clubs or @ the Mojo or Nite Owl) was Bobby Bland's "Call On Me" (+ the tuva side of that 45). Roger Eagle had been the guy to push Bobby Bland tracks @ the Wheel .... so was "CALL ON ME" too popular to drop from the playlist even after he'd quit ?? (I recall it being played a lot @ the Wheel in 67 & 68 -- it prompted me to chase a copy. I soon realised it wasn't on 45 in the UK, so ordered a copy from Randy's Records). With him gone, which DJ kept spinning the track ?