Roburt

Just had it confirmed that this Pastor is the singer who cut for Hi-Q back in the day. He lives in Sandusky, Ohio & by all accounts his health is fading these days.

Good to learn that Oliver Cheatham is getting back to sing with Jocelyn plus returning to Scotland. I spent a weekend with him up there in the mid 80's (a dinner in Edinburgh and then a club gig in Kirkcaldy). He's a very pleasant (& interesting) guy to spend time with. Now living in France (or was last I heard), Oliver was a force on the Detroit music scene back in the day (Young Sirs, Gaslight, Mad Dog & the Pups, Roundtrip, Oliver). He was close friends with Al Perkins & more in the Motor city.

Jessie's 45 in it's Ru-Jac form ............. https://www.youtube.com/watch?v=y5s7b2F7CCA

Jessie was probably performing with the Kay Keys Band on this Carr's Beach show in May 63 ......... The Strands were also locally based. A Philly doo-wop group on the bill ........... https://www.youtube.com/watch?v=8wHQYDfk3nc

No doubt Jesse Crawford got to perform at Carr's Beach himself as the booking agency for the venue up to around 1965 was Ace Booking of Baltimore. Of course, Ace Booking was run by Rufus Mitchell, who also ran Ru-Jac Records. Many acts signed to Ru-Jac (& other local Baltimore artists) got to play support on the Carr's Beach shows, though many were last minute adds to the bill and so didn't get name checks on the ads for the gigs. A radio ad for shows held at Carr's Beach ............ https://www.youtube.com/watch?v=wZ4vJRt_9iI They obviously didn't have a photo of Tammi Terrell at the time the ad was placed !!!!

I knew he had connections to Baltimore but didn't think to look at the Ru-Jac discography. I guess this was the only Ru-Jac 45 to be picked up by Symbol. Here's the ad for his show in October 63. Locally based Jay Wiggins was also on the bill, as was Lou Johnson. MC on the show was Sparky Mullens who owned / ran the Spar & Zennette record labels. Sparky probably organised the show & got the artists to perform for expenses (as he was playing their tracks on his WSID radio shows at the time). I have Baltimore club / Carr's Beach ads for the Kay Keys Band (who backed Jesse up on his cuts) as well somewhere.

My info is that though Conlo was nationally distributed by Cameo/Parkway, the label's sides were mainly cut in Chicago. Other 45's on the label came from Jamo Thomas and Arlene Bailey. I believe that the guys who made up the Shells (Charles & James Calvin, Billy Harper & Willie Exon) all had St Louis connections. I think the Arlene Bailey tracks were 'outside productions' most likely done in New York. By 1978, there was an Arlene Bailey singing in supper clubs up in Bangor, Maine. I guess this was the same lady as she seems to have cut an album in Boston around 9 years later for AGB Records (Arlene George Bailey). https://www.youtube.com/watch?v=rCv7ggqIxbg https://www.youtube.com/watch?v=lglWTVXaeFo https://www.youtube.com/watch?v=rUKm65Yh9aA No doubt, Boba will give us the Shells full sp.

Is much known about the Jesse Crawford who had a 45 out on Symbol in 1963 .......... Symbol #925 - Jesse Crawford -- "I Love You So / Please Don't Go" I know he got to tour a bit on the back of that 45, one such show he did taking place at the Coliseum in Baltimore on October 19th 1963.

The group's Al McKay worked with a number of artists both prior to joining EWF (Brenton Wood, Watts 103rd St Band) and after (Ren Woods, Deniece Williams). https://www.youtube.com/watch?v=F3Ufg2MB1lA https://www.youtube.com/watch?v=bwAXaeSRsnA Other guys out of the group also worked with other acts in the studio.

There were quite a few groups that took the name the Shells. One of the early ones were a New York based doo-wop outfit that recorded for the Johnson label for a number of years (1957 -63 ?). They had a few singles out that were popular at the time and as a result secured some good bookings on shows at big New York area theatres (at Loew's Breevort in Brooklyn for instance). https://www.youtube.com/watch?v=CPTrHHw09S8 Another outfit that used the name came from Chicago and cut "Whiplash" for Conlo. They went on to have a 45 out on Volt as the 4 Shells but I have no idea how Jerry Butler & Eddie Thomas managed to get them signed up with the Memphis based label. No doubt Boba has full details on their history. https://www.youtube.com/watch?v=8GnWT8cpClE Then, of course, there's C & the Shells, who under Jerry Williams supervision cut for Cotillion in the late 60's. They were also New York based and had earlier recorded as the Sandpebbles. In the 70's, the group landed a deal with Zanzee Records and had a few more 45's out. J R Bailey worked with them for Zanzee.. https://www.youtube.com/watch?v=kbZh-GyNu4Q https://www.youtube.com/watch?v=RHkfYDlE8aU There was also the similarly named La'Shell & the Shellettes who had 45's out on Eagle. I believe that they were also out of New York. https://www.youtube.com/watch?v=_h5bNoVvEkg In more recent times a number of acts (solo + groups) have made use of the name. It can get confusing for record collectors when so many artists use the same / very similar names.

Since Bettye LaVette was discovered by the rock / pop world elite about 10 years back, she has been lauded by many for her versions of old rock group classics (Who, Moody Blues, etc.). She usually fills her live shows (& albums) with such tracks these days. Here's her take on a Moody Blues anthem .......... https://www.youtube.com/watch?v=WjjlR51vWiE ...... she really does re-invent the song !!! And a few more of her fine interpretations of rock / blues songs .......... https://www.youtube.com/watch?v=9gyGFxkY9JY https://www.youtube.com/watch?v=59qBrToVLQ4 https://www.youtube.com/watch?v=q8-q7kt9hmU https://www.youtube.com/watch?v=zNVqhMcPA3o I don't really like many soul takes on rock / pop songs but Bettye is sumut special. A US TV interview that Bettye undertook in the recent past (she talks about Detroit in the 60's & more) .......... https://www.youtube.com/watch?v=s5yObxDolEg Those who get to see her in the near future (she's on a European tour ) are in for a treat.

Bettye LaVette is on at the Stamford Bridge club (Chelsea FC) in London on Wednesday 17th July. Bettye is also doing a show in Perth (Scotland) 2 days later (19th July) but I'm told that Bettye plans on doing a 90 minute show in London with approximately half the songs she will include in her set being from pre 2000 (I.E. her old soul classics) . But the set with more of her old classics included is only for the London show, not any of the other dates on her current European tour Info on her London gig ......... https://underthebridge.co.uk/events/bettye-lavette/ Since she was discovered by the rock / pop world elite about 10 years back, she has been lauded by many for her versions of old rock group classics (Who, Moody Blues, etc.). She usually fills her live shows (& albums) with such tracks these days. Here's her take on a Moody Blues anthem .......... https://www.youtube.com/watch?v=K6raFWDBZLI Must say, she does reinvent the song.

Those James Booker tracks (on the LP) came from the Duke / Peacock vaults and just about all seem to date from 1960 to 1963. I guess that when he was signed to Peacock at that time, he cut more tracks (in NO,La or Houston) than the label ever got around to releasing. Many of his Peacock tracks seems to be paced to fit a big dance from 1960, the Madison. I'd bet that he went into the 21st Century Studios in NO,La around 1970 and speck cut that track ("Next Time I See You") and with no label having yet licensed the track for release, they sent it to his old label (Duke / Peacock) to see if they were interested. If that was the case, then a tape containing a copy of that tune would have ended up in the Duke vaults along with all his other earlier tracks. So, prior to the release of the LP, his cut may not have escaped in any form (on Three Oaks or Duke). Anyone heard "Next Time I See You" and can say whether it sounds like a 1960/61/62 cut or a 1970 cut ? Of course, it could just be a slightly re-titled version of Little Jr Parker's "Next Time You See Me" (Duke; 1956).

US newspaper article ............. https://www.nytimes.com/2013/07/05/books/ready-for-a-brand-new-beat-looks-at-a-martha-reeves-oldie.html?ref=arts&_r=0

Lots of labels like that on Jamaican released 45's as the guys who worked in Kingston record pressing plants were so meticulous in ensuring no singles left their premises unless absolutely perfect.

Seems that in more recent times, a McGinnis family from Jonesville, LA (including a Hillary McGinnis Jr) have been in the news a bit. Jonesville is a small town located about 100 miles NW of New Orleans. Good chance that the family there are (were) related to the lady who sang back in the day with the Electrostats.

As always (of course), a Sirshambling site page has a more info on artists who had releases on the label .......... https://www.sirshambling.com/artists_2012/E/electrostats/index.php Listen to "I'm Not Gonna Hurt You No More" there (you'll not be disappointed even though it sounds as if Hillery wasn't the best vocalist in the world).

Info here on the Electrostats Three Oaks 45 ... https://funky16corners.blogspot.co.uk/2006/03/electrostats-21st-century-kenya.html Plus more info towards the bottom of this page ......... https://desosquichante.blogspot.co.uk/ .................. 45 label scans on both pages. Seems Eddie Bo & Walter 'Wolfman' Washington (https://www.walterwolfmanwashington.com/bio.html) were also hooked up with the label. More info on Walter Washington here ....PLUS a mention for Katrina (but not the flooding it caused) ... ......... https://redkelly.blogspot.co.uk/2005/10/walter-wolfman-washington-and-solar.html Walter's "Sun Ain't Gonna Shine" song was written by Kim Joseph and assigned (& now co-composer registered with BMI) to Edddie Bo's publishing company. The labels in-house publishing company seems to have been Romulin, though BMI no longer hold details on that outfit. I'd guess that the (musician) members of the Electrostats were Tony Morel, F Bua,A Torre & D Watson (they wrote one of the band's songs) and that the group's publishing was via Golden Puma & Mempro (again details on those publishers no longer held by BMI). Would also guess that the Tony Morel who co-wrote the group's songs and also arranged their tracks is the guy listed in the obit below. If that is the case, then his family originally came from Phoenix, moved to Baton Rouge, then New Orleans and he eventually settled in Lewisburg (just across Lake Pontchartrain from New Orleans). Mr. Glen Morel, 53, of Lewisburg, Tenn., died Saturday, June 4, 2011, at Maury Regional Medical Center. He was born in Phoenix, however he lived in Baton Rouge until 1986. Mr. Morel was a son of the late Paul Joseph Morel, and Frances Morel, who survives him. He was self-employed as a carpenter-owner of Glen Morel Construction Co. In addition to his father, he was preceded in death by his brother, Donald Morel. Survived by sons, Joel Morel and Mike Taylor, of Lewisburg, and Billy Brown, of Murfreesboro, Tenn.; a sister, Pam Morel Giauque, of Baton Rouge; three brothers, Tony Morel, of Lewisburg, David Morel, of Denham Springs, and Ronald Morel, of New Orleans

On top of the postage costs from the US, the Pound is now dropping in value against the US Dollar. So we will be spending more £££ when we bid & win a 45 that is located in the US and sold in $$$$$$. .... and to think Eddie Floyd used to sing ....... Things Get Better !!!

I think you mean La Brenda Ben ........... And the track you're referring to is Track 17 on CD1 of 'Cellarful of Motown Vol.4' ........ LISTEN HERE ......... https://www.amazon.co.uk/Cellarful-Of-Motown-Vol/dp/B003XDV3HA

Of course, it wasn't just the performers that had to watch themselves. The Lexington West's original owner had bought & done up the building in 1964. That allowed him to fit it out and open for business in April 1965. The club was closed and locked by December 1965 and its original owner soon lost interest in the club. But in 1968, the venue was bought by local nightclub owner Walter 'Kidd' Henderson. However, within months (in August 1969) he was shot dead in another place he owned on Pennsylvania Avenue, Baltimore's black entertainment hot spot. Seems that the Lexington West only brought bad luck to guys involved with the place.

A locally based singer who secured bookings at the club was the 'vivacious' Virgie Til. Virgie had been born in Florida but had moved up to Baltimore at an early age to live with relatives. She started to sing and caught the eye of the Oriole's Sonny Til. Sonny was married but that didn't stop him adding Virgie to his touring revue package. She assumed his name and Sonny put the tale around that she was his 'much younger sister' but no brother / sister teaming shared a room that only contained a double bed whilst touring. Eventually, Virgie went out on her own and landed a record contract. Sonny was left abandoned (by both Virgie & his wife who was granted a divorce) back in Baltimore.

Back in the 60's, trying to establish a career as a soul singer wasn't an easy path. Of course you needed a good voice, decent co-ordination, flair in your dress sense and a decent business head. You also had to steer clear of too much booze and of drugs. If you managed to land a recording contract, it was quite common to be cheated out of any record royalties. So if you didn't actually write the songs you cut, then little money would be coming your way from that branch of the biz. Even playing live gigs had many pitfalls. You had to be signed by a booking agent and lots of those would cheat you out of a lot of your performance fee. You had to cozy up to club owners to ensure they booked you at their venue. You had to find an arranger to write charts for you and a backing musician(s) to support you on live dates. You had to ensure you were actually paid your fee (best done before you performed). You had to do 'free gigs' for local DJ's and celeb club owners.You had to hope that the venue's house band musicians could play well and that they knew your songs. Some of the venues would be far from home, so you needed decent and reliable transport. Some clubs were in very dodgy areas, so getting safely to & back from them could be 'interesting'. Many clubs had their fair share of bad customers (mobsters, pimps, ladies of the night, drunks, angry guys with guns, etc.). You had to have the stamina to perform 3 /4 / 5 times a night for up to an hour each show. You had to be prepared to perform up to 6 nights a week at each venue and then go out plugging your wares on the 7th day. Then if you were a woman, even more obstacles had to be negotiated. Your booking agent, club owners, club managers, club bookers, members of the house band and the like might come after you looking for favours. If you had family, you had to find someone responsible to look after the kids, younger brothers & sisters, elderly mother, etc. Over and above all that, you never knew what was really going on 'behind the scenes' at any of the clubs you played. In Baltimore in 1965, a posh new club, the Lexington West was opened. The place immediately started to book top acts and so attracted a big crowd most nights of the week. However within 8 months the place had gone. The Lexington West (721 West Lexington Street) was located across from the Lexington Terrace Projects in Baltimore. The club booked a good number of top soul acts in 1965 (Aretha Franklin, the Escorts, Baby Washington, Walter Jackson, Virgie Til, Arthur Prysock, Erma Franklin, the Anglos, Gloria Lynn, etc). The place had been opened in early April 1965 but was gone before the end of the year. In September 1965 the club's manager, Eddie Tucker (37), had been arrested for possession of drugs. He was convicted of narcotics offences in December by which time the club was already closed and padlocked. The club's liquor license had been granted in tucker's wifes name and it had been suspended while he appealed his conviction. By the time his appeal hearing came around, in late January 1966, both he and his wife had skipped town. So as a singer, you just never knew what situations you could be getting yourself into.

Bob, so did you try to arrange a radio interview to quiz her on her long music career ??

Yes, I got into the Sweet Sweetback soundtrack before I even realised it was EW&F who were providing all the music.