Roburt

Another picture of Tommy .......... and one of his later tracks ........... "All the way this time" (RCA Records) 1977 https://www.youtube.com/watch?v=TdRPsPwShbs

Some pictures of Tommy are shown below. Also in his set of 'Platters' is / was ex Velours / Fantastics member John Cheatdom. Some info on John Cheatdom -- Born in Brooklyn, he started out singing in the Choir of his local Baptist Church through the encouragement of his mother (a concert pianist). In 1956 he co-founded the Velours, a group that instantly shot to fame with the single "Can I come over tonight". The Velours enjoyed some success right through to the end of the 1950's. But by 1961, the group were struggling to make headway. So Jerome Ramos, Donald Haywoode, and John Cheatdom dropped out to continue their interrupted education. When that was out of the way, they got back together again around 1966, adding tenor Richard Pitts (to make it an all-tenor quartet).In 1967, they got a chance to do an English tour. While it sounded like a great opportunity, they found (once they got there) that they hadn't gone as the Velours but as the 'Fabulous Temptations'. There was a second U.K. tour in early 1968, and this time they changed their nameto the Fantastics. A May 1968 release on M-G-M (in England) was "Baby Make Your Own Sweet Music" (this was re-released on Polydor in August of 1971). Other releases followed, from the late 60s to the mid-70s, on Deram, Bell, and Bus Stop. Some were issued in the U.S., but most of them were only released in the U.K. It's probably true to say that the Fantastics enjoyed more success in England than the Velours had in the U.S. In 1972, The Fantastics biggest UK hit was "Something Old, Something New" which made the Pop 45 Top 10 in 1971. Richard Pitts left the group, to be replaced by A.D. Beal. However, by the end of 1976, only Donald Haywoode was left. (Jerome Ramos had throat problems and was replaced by Jimmy Hamilton. That only lasted a few months, after which both Hamilton and John Cheatdom left). In 1976, John Cheatdom formed the Realistics. As he says, "We didn't have much success record wise, but worked around the world until 1983." And after that, "I left the Realistics in 1983 to team up with my old pals from Brooklyn, Ernest Wright and Kenny Seymour (from Little Anthony and the Imperials) who were working with Tony Williams' Platters. We formed the Magic Platters and, in 1986, recorded a CD 'The Comeback,' which sold 3 million in Europe. We also recorded the CD 'Full Circle' for release in South Africa, to coincide with the Yes Vote and our tour there. Ernest and Kenny went back to New York in 1992 to re-form Little Anthony and the Imperials and I teamed up with two members of the 'Paul Robi Platters' to form the Platters. In 1998 the original members of the Velours were inducted into the U.S. Rock and Roll Hall of Fame. In 2002, we recorded the CD, 'The Platters Sing Mariachi' in Mexico." This Platters group has toured all over South America and Spain. His voice, with his unique falsetto range, plays a major part in the sound of the Platters.

Seems Choker was badly 'under-reported' through much of his career. He (& his band) spent many nights backing up Joe Turner and Ruth Brown on live gigs in the 50's. I checked through Ruth Brown's book 'Miss Rhythm' and she doesn't mention Choker once in it !!!

Seems that Choker & his band were still Toronto based in 1981. I'm putting up a picture of him from that year when he was playing extended dates around the Vancouver area. At the time (in his shows) he was playing the soprano, alto & tenor sax plus handling lead vocal duties (not all at the same time I would add). In mid April he was doing shows at the Show Lounge, Plaza Int Hotel, North Vancouver. He then moved onto a venue on Vancouver Island before heading off for more work in Vegas.

... OFF THE NET ............ In January of 1955, Hollywood records purchases additional masters from the Swing Time catalog and plans to release Fulson's "Everyday I Have The Blues" and "Guitar Shuffle" on a single record. In February the Top Ten Show embarks on a national seven week tour of one nighters. Lowell's "Reconsider Baby" is a huge national top ten R & B hit and helps draw on the road. In March Checker Records releases #812 : "Loving You" and "Check Yourself". After the end of the Top Ten Show tour, Lowell joins up with Choker Campbell and his band for a tour of Texas. In July Fulson is in southern California and his new Checker release is "Lonely Hours" and "Do Me Right", even as "Reconsider" is still selling seven months after its initial release. In November Hollywood records again re-releases Fulson's "Lonesome Christmas" (parts one and two) with Lloyd Glenn on #1022. The newest Checker record is out in December - #829 : "Trouble Trouble" / "I Still Love You Baby". Reconsider Baby — Lowell Fulson -- Recorded Dallas, Texas, September 27, 1954 Lowell Fulson (vocal-guitar); Fathead Newman, Phillip Gibeaux, Julian Beasley, Choker Campbell (saxes); Fats Morris (trombone); Paul Drake (piano); Leroy Cooper (bass); Chick Booth (drums) .............. Checker single # 804 ............ Lowell Fulson (born in Tulsa, Oklahoma in March, 1921) cut “Reconsider Baby” in Dallas with what was then his touring band. His first Chess release, it was enormously successful, going to #3 on the R&B charts, and was partially responsible for his nearly decade-long stay at the label. “I wrote a song, finished it, and I happened to be touring with a band down in Texas — Fathead Newman, Leroy Cooper, and the boys. I told them, ‘Man, I got a tune I’d sure like to cut, but I can’t go back to Chicago with all you guys…’ The boys said, ‘We’ll do it with you,’ and there was a recording studio there. I called the Chess brothers, and they told me, you want to cut it there, no, come to Chicago with us, I told them, ‘No, I’m not coming to Chicago. I’ll cut here, or I’ll just keep the song.’ They said, ‘All right.’ So I produced my own, ‘Reconsider Baby’ and ‘Check Yourself.’ I went down to Studio Seven in Dallas and cut it, and then Chess had Stan Lewis from Shreveport come along and pay the musicians. The masters were sent right back to Chess, and, oh, I’ll say in a couple of months, I had a record out.” — Lowell Fulson https://www.youtube.com/watch?v=n4g_CQ9uC4E

Another early single (put out by Atlantic on 78 & then on 45) ............ https://www.youtube.com/watch?v=FvvEtMFCQLw

An early Choker Campbell recording ................ https://www.youtube.com/watch?v=Tv_S5ZgQTms This 45 was also released in Canada (on Sparton).

A montage of Choker Campbell related stuff ................

So how does this 45 fit into his Canadian period (it's from 1973) .......... Campbell Artists Prods label --- Choker Campbell Super Sounds -- "The Camel Hump" ....... any other 45's on the label ? ................

A clip from the film 'Shake, Rattle & Rock' ........... ... Joe Turner performs (with his backing band) about 36 mins in ......... .. Choker plays a sax solo at around 37 mins ....... https://www.youtube.com/watch?v=yJxnRzDIjJc

Just to be clear (as I don't want to be deluged with abuse) ............. ..... a WIGANWASTER ...... is a poor track played at the Casino ... AND NOT ..... a NSoulie who attended the club.

An early Choker Campbell / Albert Jones Kapp outing that had also escaped on Tri-City ................. https://www.youtube.com/watch?v=5z-9m8Mjxmc https://www.youtube.com/watch?v=qLuvAexgYS0

Prior to joining the Motown team around early 63, Choker had been on the road with his band for many years. I believe that at one point in the 1950's, his outfit were based in Cleveland. He was touring from at least the mid 50's as he got to appear in the 1956 film "Shake, Rattle & Rock" backing up Big Joe Turner on his songs that featured in the film. Choker was already experienced in studio work by then as he (& his outfit) had been on Big Joe Turner's 1956 Atlantic album 'Lipstick, Powder & Paint'.In Motown's early days it was was the Joe Hunter Band (including the likes of Hank Cosby, James Jamerson, Benny Benjamin, Mike Terry & more) who went out on the road behind touring Motown artists. That outfit soon formed the basis of the Funk Brothers and so had to stay behind in Detroit to play in the studio everyday. So the Choker Campbell Band took over & they featured loads of Motown greats in their line-up at times (EVD start out playing with Choker's touring outfit). Music folklore tells us that Earl Van Dyke (while touring with Lloyd Price) met fellow Detroiter James Jamerson (who was in Jackie Wilson's backing band at the time) in Rockville, NY, in 1959. Jamerson struck up a friendship and recommended that EVD return home to Detroit to start working in the recording studio at Motown. EVD eventually took his advice and by 1962 was a member of Motown's studio band. However, that tale can't be 100% right as it was Earl (as a member of the Chris Columbo Quintet) that was playing in support of Jackie Wilson; not Jamerson. Lloyd Price & his Band shared the bill at Carr's Beach (Maryland) in early September 1960 with Jackie Wilson; 'Crazy' Chris Columbo & his guys were backing up Jackie on that show. 'Crazy' Chris Columbo (aka Joseph Morris) was the famous jazz drummer who for many years led the house band at famed Atlantic City nightclub, the Club Harlem. In the mid 50's Colombo had been the drummer with Bill Doggett's group (he also held the same position for a spell with Louis Jordan's Tympany Five). By 1957, Chris had signed his own recording deal with King Records and this resulted in the 45 "Oh Yeah" (credited to Chris Columbo & the Swinging Gentlemen) being released in February 1957. At the time of that recording (early 57?), Columbo's group consisted of himself on drums plus Gil Askey (trumpet -- another guy with Motown connections), Johnny Smith (organ), Jimmy Tyler (tenor) & Floyd Smith (guitar). In 1956, jazz guitarist Emmett Sleigh had hired Earl Van Dyke to play in his band, Emmett Sleigh and the Sleighriders. When organist Johnny 'Hammond' Smith quit Chris Columbo's band, Earl was hired to replace him (sometime around 1958 I'd guess). It's documented by Gil Askey in 'The Jackie Wilson Story' book, that Chris Columbo's group were touring behind Jackie in the late 1950's (1958 to 1960) and Earl was part of the set up for some of that time. A big show staged at Carrs Beach starring Lloyd Price & Jackie took place in September 1960. Askey says that although Lloyd Price's band numbered 14 guys in all and Jackie's band was only 5 strong, Jackie put on such an intense show that Lloyd's performance didn't even come close with regard to crowd reaction. I guess that back then, Jamerson must have been in Lloyd Price's band. After Gil Askey & EVD had left his group, Columbo remained a force on the music scene, touring when he wasn't leading the house band back at the Club Harlem and cutting further records -- "You Can't Sit Down" for Battle in November 62, "Minerology" for Philly based Casino Records plus NY's Strand Records in 1963 By 1963, Choker was with Motown and his band were backing up the Motown Review that toured from spring through to fall 1963. He then went out behind Stevie Wonder & the Temptations in summer 64. New Yorker Billy Nichol went to Detroit in January 1964. He soon became pals with Tony Newton (bass player) and the pair auditioned as 'road musicians' for Motown. Both of them went over to West Grand Boulevard where there were around fifteen to twenty musicians waiting outside the front of the place. They were led inside by Henry 'Hank' Cosby and each of the musicians were allocated microphones and given sheet music. This was mostly music for songs cut by Motown artists. Choker Campbell then joined Hank and told everybody there that they must be able to go out on tour for at least one month. Each musician was told which song was the first they should play and the audition commenced until they had played through the full list (about 45 minutes later). Hank then selected particular guys with both Tony and Billy being chosen. Billy's first Motown job was with Martha and the Vandellas, whilst his friend Tony got a job in the Miracles band. Billy Nichol's first gig was with Choker's Band in Cleveland at the Music Box. On that show (which had a10 day engagement at the club) were the Four Tops, The Spinners, Martha & The Vandellas, The Marvelettes, The Temptations, Shorty Long and Willie Tyler + Lester. In 1965, Billy became Marvin Gaye's band leader & his initial gig in that position was in in Bermuda. Woody, Marvin's current band leader then, had suffered an accident which left him unable to continue in the job & Marvin chose Billy as his replacement. As Marvin's band leader, Billy played gigs at the Apollo Theater (NYC), the Uptown Theater in Philadelphia, the Regal Theater in Chicago and clubs such as the Peach Tree Lounge in Atlanta. Popcorn Wylie also toured backing Motown acts with his guys in the early 60's. Later on in the 60's it would be the likes of the (Hamilton) Bohannon's Big Band that went off with the Motown Revue shows. The Supremes had 'favoured status' after they started having No.1's and Lots of times, a smaller outfit led by Earl Van Dyke would back them on tour (other musicians in this outfit would include the likes of Ray Parker Jr., Bob Babbitt & David Walker). Motown acts of 'lesser status' such as Edwin Starr had a number of touring bands back them up. Some of his bands in the mid 60's featured musicians Edwin had found back in Cleveland (where he had earlier lived). Edwin had to sort out his own backing band it seems and ended up with the outfit that became Rose Royce as his touring band in the 70's (they even toured the UK in this capacity). Though Jackie Wilson wasn't a Motown artist, he was linked to the early years of the Motown guys. The Joe Hunter Band went out on tour behind Jackie for some of the summer of 1961 (I have an ad for a show they played @ Carr's Beach). So basically, that tour must have been the closest it got to a JW@Motown situation in the 60's. Is it known just how much time the Joe Hunter band were 'on the road' back then ? Jackie seemed to have his pick of backing bands back then. Chris Columbo led an outfit that backed him up in the early 60's. At the start of 1960, Willis Jackson & His Orchestra were touring with Jackie. In the summer of 1958, the band backing him up on tour had usually been Joe Morris & his Band. However in early June 58, Jackie played a gig at Carr's Beach with Earl Bostic & his Orchestra. There's no mention of a band to back Jackie up, so maybe Earl Bostic's guys took on that task. By the end of 1958, it was Arnett Cobb & Orchestra that were supporting Jackie on tour. In mid August 1960, Earl Bostic was back at Carr's Beach and this time Barrett Strong and Marv Johnson were also on the bill. That day though, Don Gardner and Bobby Peterson was also performing on the beach. Bobby Peterson & his Band did tour as a backing band back then as in summer 61, he was touring across the States behind Dee Clark. Also, Don Gardner sometimes strengthened his outfit (to orchestra status) and backed up acts on shows that starred Chuck Jackson, the Spaniels, Buddy Lamp and the like. Getting back to Choker. By 1966, he had left Motown and was working over at Magic City Records with the likes of Leah Dawson. What was he up to between then and his work for Tri-City, Ultra City, etc. in 1970 (and their tracks picked up for national distribution by Kapp).

The Casino was a nightclub, special to those who went & loved it ............ ...... but to those who didn't, it's just the name of another club. A place OTHERS wax lyrical about. Seems that when folk come on here to ask for support for say the Wheel, they are dissed by guys who were too young to attend the place & dance to those old 'youth club tunes' (a real put down term if I ever heard one). But when an old stager comes on to say .. the Casino was just another niter venue & one that played way too many stompers & crap pop tunes ... .... they become fair game it seems. Talk about f*ckin' double standards !!!

So how does the Tri-City label fit in (& Ultra City) ? Did these labels have any Canadian connections ? Tri-City was also a Choker Campbell run label that the likes of Albert Jones, Red Top and the Young Family ("Love Power / Barbara"), Lee Moore & 21st Generation recorded for. In the 1970's, George Hendricks (present member of the Hesitations) was a member of Red Top and the Young Family and they toured across the US for several years. George Hendricks had started out (back in Cleveland) with the Sahibs. He was then in the Challengers / Challengers III ("Honey Honey Honey" & "Everyday" on Tri Phi -- 1962/63). He went on to serve in Viet Nam & after returning took a break from the music biz. In the late 70's, after being in Red Top & the Young Family, he joined long time friend (& former Sahib) Lou Ragland to form the Chosen Few. Later still, George was vocalist for Harvey and the Phenomenals (ex of Daywood label). As I stated above, George is currently a 'Hesitation' and in that role he played Prestatyn with the group.

He CLAIMED TO BE, but I believe the Cooke family disputed his claim.

Wasn't it basically a follow on from Attic Records (Canadian again) that put out the great Carla Whitney stuff.

The messages sent by Motown people to Dave Godin's UK Motown Apprec Society (Dave used to give copies of the 45 to buyers who visited Soul City record shop back in the day) ............ https://www.youtube.com/watch?v=Ir3z_BCSFsI

Not ridiculous at all IMHO. Those that didn't care for lots of the music played at the Casino (all the stompers & pop crap) couldn't give a fig bout the place during those years. I'm sure loads of soul tracks were played there in the 60's and so I'd have preferred attending back then. So the Casino crowd deffo weren't the 'chosen ones' to me (even though they all seem to believe an 'oldies nite' means a night of Wiganwasters.

Might be out of the same bag as Jerri / Jerry Jones ..... OR ..... ...... involved with the 'Jewel Box Review ' ......... https://worldofwonder.net/2010/01/08/The_Jewel_Box_Revue/

Nacio Brown Jr. who owned / ran Rona Records was the son of the famous songwriter Nacio Brown. His father's songs were cut by everybody up to the 60's / 70's and no doubt it was his upbringing at his father's side that got him interested in the music / recording biz. 45's released on Rona ............ https://www.globaldogproductions.info/r/rona.html The Kenny O'Dell 45 is the one missing from the listing (#1008).

................ INFO OFF THE NET on young R&Rer Nancy Claire (who had 45's out on Rona) .... One night in 1961 Claire and the Frantics were down at Tacoma's Crescent Ballroom (S 13th Street and S Fawcett Avenue) supporting a teen singer who had come up from Los Angeles to play some local teen-dances to promote his new single. Time has clouded memories of who exactly that singer may have been, but it was either a young man named Kenny O'Dell (who had worked with Arizona's rock-guitar star, Duane Eddy), or another billed as "Shane." The case for O'Dell includes the fact that he would later record a 45 single for the same record company that Claire soon would. Regardless of which singer it was, his manager heard Claire that night and encouraged her to cut a demo and forward it to him to maybe score her own record deal. Toward that end, Claire enlisted her pals the Exotics and together they recorded a few songs at their rehearsal basement and that tape was mailed off to Los Angeles. Meanwhile, on New Year's Eve 1961 she and the Frantics (along with Seattle's Counts) played a dance at Seattle's funky after-hours R&B mecca, the Birdland (2203 E Madison Street), "And that was so strange," she marveled, "because I had never been into an all-black nightclub before!" (Blecha, 1985). That same night she met University of Washington freshman, Larry Coryell -- who had just moved to town from Richland, and joined on as guitarist with another local band, the Dynamics. She mentioned that the Frantics were moving on to nightclub work and he invited her to audition with his band. Thus began her relationship with another of that decade's top Seattle bands. ...... Claire struck up a fine friendship with the Checkers' blind keyboardist, Mike Mandel, whom she often drove home after their gigs. En route they occasionally took detours: "I always wanted to go to these afterhours clubs," which she was legally too young to attend, "and I'd lead him to these places -- which if my parents had known at the time where they were -- [in the largely African American neighborhoods] ... oh! But they were so much fun! The Birdland [2203 E Madison]! The Black and Tan [404½ 12th Avenue S]! The House of Entertainment [204 Occidental S]! [Nightclubs] where all these real neat people would jam and play jazz. Well, I used to really feel lucky getting to chauffeur Mandel around" (Blecha, 1985). But before long the Checkers were signed to embark on a road tour backing the national teen-star Bobby Vee, along with the Ventures & Little Bill. Poor young Claire, still in high school, was only allowed do the tour's first date at the nearby Shadow Lake Resort. But that's right about when she finally heard back from Hollywood bigwig Nacio Brown Jr. (1928?-2002) -- the owner of the fledgling Rona Records label. He had heard her demo tape and sent her airplane fare to fly down and record four songs. Brown produced the sessions, with another seasoned pro, Perry Botkin Jr. (b. 1933), conducting the orchestra. Yes, an "orchestra." It was a far cry from the raucous rock 'n' roll bands Claire was accustomed to, but it seems the music biz machine intended to mold her into another saccharine teen-idol like Annette "Tall Paul" Funicello (1942-2013) or Shelly "Johnny Angel" Fabares (b. 1944). Still, it was quite an experience for the rural farm girl to suddenly be in the presence of big-time players. "I had never been in studio before and I was like a little girl in a candy store with all these musicians I had heard about. I have great memories of meeting [guitar master] Barney Kessel [1923-2004] and some of the other musicians at the session" (Blecha, 1987). "We had really big-name jazz people doing this record. I couldn't believe it! Earl Palmer [1924-2008] was the drummer. Carmel Jones [1936-1996] played trumpet, and Plas Johnson [b. 1931] played saxophone. Oh, it was neat! To get to see and meet everybody ... it was like a fairy tale" (Blecha, 1985). So Claire was handed the lyrics to a pop song titled "Jimmy," but "I had gone steady with a Jimmy for a year, and we broke up" Claire laughed. "So when I got the tune I said 'Ohhhh! I really don't want to do a song called "Jimmy."' And so they changed the name to 'Danny'" (Blecha, 1987). Thus, the "Danny" / "Y-E-S" single (Rona Records No. 1007) was released and she was immediately booked on a brief tour (to gigs in Los Angeles, Bakersfield, San Francisco, and other spots) -- along with some other striving stars (Jan and Dean, Timi Yuro [1940-2004], and Johnny Burnette [1934-1964]) to promote their records. That's when "Danny" began winning airplay at stations from Los Angeles, to Chicago, to Hawaii, to Idaho, and back home in the Northwest where it scored on KOL (No. 1), KAYO (No. 1) and KJR (No. 5). Yet Claire had mixed feelings upon hearing it for the first time on the radio: "I was excited. It was an accomplishment. But, it was out of my bag -- I'd been doing rhythm & blues and to turn around and do something like that ... I wished I could have done more Northwest blues like I was used to doing" (Blecha 1987). Still, "Danny" received an impressive Four Star rating in Billboard magazine and one of the giant labels, Warner Brothers, was apparently convinced enough to step in and license it from Rona for rerelease on their own label (No. 5298). But even as the single's momentum stalled out, Rona forged ahead with a follow-up 45, "Little Baby" / "Cheatin' On Me" (Rona 1009), alas with even less luck.

I'd guess that Bob Kuban's "The Cheater" would qualify as well. Massive in the clubs in the UK as well at the time.

Did some checking and it seems that these two singers appearing on the 'Allen Ludden's Gallery' TV show seems right & appropriate. H B Barnum produced their 'Mothers & Snarf' tracks AND who led the resident band on Alan Ludden's show .......... .............. right, it was H B Barnum !!!!

In addition to US hits that cost little to record, there were lots of 'overseas' hits that sold well without really breakin through in the US. In the soul field there was Felice Taylor & the Showstoppers which were hits in the UK. ALSO tracks such as "Shotgun Wedding" were big hits in lots of countries and must also qualify.