Roburt

..................... An old IAN DEWHIRST post copied across from another thread ........ it concerns the old Aaron Neville hit 45 ........ It's interesting how a major hit can kill an indie isn't it? I've often had old time American record guys tell me exactly the same thing. "Tell It Like It Is" sold a million and the company went bust. The company was probably ticking over just fine in the New Orleans and Southern markets but suddenly having to press 1,000,000 45's and distribute them across the USA in 1967 must have been a step too far. One record veteran told me that you always have to have the next hot record ready to go otherwise the distributors will try and stiff you on the current hit.

You'll be pissed by 9pm Friday night, so I'll just park you on the grass outside the caravan door & make better use of your bunk. Us OAP's need our beauty sleep you know.

Bugga, I'm in London today & tomorrow. It's too soon to come back next weekend.

A little LA indie label, Mark II, had a hit on their hands with the Romeos (who were actually the Packers) track "Precious Memories" .... ..... look at how many distributors they had to take on (bet loads never paid em for the 45's either) .............

Paul Glass (who owned / ran USA Records) was also in control of one of the biggest 60's Chicago based distributors of indie labels .......

So Billy Nichols & the Soul Swingers were the backing band on the Bobby Dunn 45 "Do The Bobby Dunn" (JAS Records) as well ....... that was cut in 1966, so it seems that the Mr. Dunn 45 must have been a late 66 or 1967 release. BTW, the Bobby Dunn track has many admirers among funk fans (& it has been included on 'boot' funk comp CD's in the past) ........

Billy Nichols got back in touch with me concerning the Mr. Dunn 45 ...... He states that ........... Yes that was me and my band, we did that recording but I don't remember the studio..... I met the father of the Dunn Brothers back in 1966, Bobby Dunn. We first recorded a 45 on him called "Do The Bobby Dunn",then he hired us to record his sons..... I last saw Bobby about two years ago and he now is a preacher.

Loads of work would be involved & some of the info might be a bit illusive .......... ...don't forget that a record label was a good means to launder money, so some 'wise guys' got involved .... behind the scenes as well as in front. ........ PLUS ....... there were 100's of Record Distributors, many just dealing over a limited area ...... ... so a small LA label (say) that got a hot 45 could end up with dozens & dozens of regional distributors.

Billy Nichols was based in New York and leading Billy Nichols & the Soul Swingers from around the summer of 1966 to the end of that decade. It was obviously during that period that he & his group went into a local studio (Delta) with the Dunn Brothers and the whole ensemble cut the Mr. Dunn track "Something Is Wrong" (LAURAdunn Records) ......mind you, the 45's label actually credits the band as being called Billy Nicholas & the Soul Swingers. A very rare 45 (or so it seems). I've winged off an e-mail to Billy to ask what (if anything) he can recall about the recording session and the group.

In my discussions with Carole, she only seemed to make mention of Bobby Whiteside as being the guy who oversaw all her USA Recordings. This intrigued me as her "I'll Never Get Away" track credits a Bobby Bruce as being the producer. ...... ANYWAY ...... I thought I'd ask her about Bobby Bruce; who the guy was, etc ................ I got this reply..... All the sides I did (for USA) were recorded at Chess, and yes Bobby Whiteside wrote and arranged it ("I'll Never Get Away"). I remember him being there for the session as we did "Say Say Chicken Man" and "I'll Never Get Away" at the same time, but I really don't know a lot about Bobby Bruce. It sure seemed to me like Bobby Whiteside was in on the producing, but for some reason Bruce got all the credit. I don't know what the reason for this was. So it seems that even she has little idea who Bobby Bruce was & how he contributed to the session at which "I'll Never Get Away" was cut. The strange events that took place in the record biz back then just seem to go on forever. No doubt the guy was owed some favour by USA Records and so his name went on the 45's label. .... HOWEVER ..... just perhaps Bobby Bruce wasn't the 2nd guy's name. Maybe it was decided to give the production credits to a pair of guys. The first being BOBBY Whiteside, while the 2nd guy was named BRUCE 'somebody or other'. After all, her other sides state that they were PRODUCED BY B.WHITESIDE ......... ..... WHEREAS THIS ONE ......states ...........A BOBBY BRUCE PROD(uction).

Kegsy's well common himself, so the record will be really at home with him then. BTW, Kegsy, still trying to ascertain from Charlie if I'll be sleeping with you at Cleggy !!!

SoJamm Records ......... the 70's incarnation of Cleveland's Way Out Records. The company cut around 3 tracks for every one they released .... AND ..... ....... a big reissue label is now well advanced in its project to license / release (on CD / vinyl) all the best of their product ..... .... so we may well get a 'longer version' of "Covers Mother" plus other tracks made by Marilyn (& the many other artists who cut stuff for them).

Do you mean this one Mark ?? If so, any chance it might make it onto some sort of physical media in the near future (us OAP's still can't get on with mp3 only tracks).

Carole has checked out the article & this thread and here's what she has to say .......... Thank you John for giving me access to your article (on the web site). You did a great job. By the way, all the comments are nice, but the one about talking to me 10 years ago isn't true. I was at that time going by my married name and no one would have even known how to reach me. I didn't find out about this Northern Soul until Jeff McGinnis (black singer I am singing with on website) located me at the church (after I went back to my stage and maiden name) in Tennessee.That was about 3 and a half years ago. He happened to find the record for sale on ebay and wondered if it was me. I was shocked to see it anywhere - let alone what we uncovered after that. He and I had never heard of Northern Soul and started finding "me" all over the place. I said to Jeff "I didn't put me there" I had no idea. A little over 2 years ago I talked to a DJ from the UK who asked me to possibly come to Orlando, Florida to sign autographs or sing ... but it din't work out. He actually called me from Orlando and told me he was the one who had launched my song in Northern Soul and had found the record in New York. Kev Roberts and Roy Williams were the two I talked to. Roy talked to me about royalties, different rules on copyright in other countries, etc. because I didn't know if I had any rights or what to think ... anyway, I wasn't mad at anyone ... I just wanted to get in on my own song and singing .. from this point on somehow. It has been quite an education.So I am still trying to see what will happen; thus the website and facebook which both are recent in the past 6 months or so. I don't think she'll be mad at me for posting up her thoughts after reading the posts on here.

Sydney Scarborourgh 45 sleeves came from a Hull record shop -- I have quite a few of them. Many UK record shops in the 60's printed up their own card record sleeves as they kept some 45's in them in their shop racks, plus used them as an advertising tool.

Just got this message from Amazon ........... Unfortunately, the release date for the item listed below was changed by the supplier, and we need to provide you with a new estimated delivery date based on the new release date: Various Artists "Philly Re-Grooved 3: The Tom Moulton Remixes, More From The Master !" Estimated arrival date: May 23 2013 - May 25 2013

Carole with Roy Morris on his WRGP-TV show (a 'cleaned-up' version of the photo she posted on her facebook page) .........

The misspelling of the song on the B side of the 45's label could have also contributed to Paul Glass stopping promotion on the single and then pulling it altogether. He may have thought about having a revised label made up for the B side ... but then just left things as they were when he was spooked by all the booking enquires that started coming in from 'chiltlin circuit' venues.

This has been discussed before .... .... over many years the comparison has been made (going back to the 80's & pieces printed in soul fanzines way back then) ..... Definitely two separate guys but with similar voices (& as you say, Van McCoy involved with both). Chris Jackson seemed to 'fade away' after he made some money writing a big 70's hit for the Tymes ("You Little Trustmaker") ... ... Chris Bartley hung on in the biz much longer & was a member of the Ad-Libs in the 80's.

Carole has also put a picture of herself with Roy Morris on his WRGP-TV show up on her facebook page (though its quite faded) .... The WRGP-TV studio was at 1214 McCallie Avenue (Chattanooga) back in those days .......

Carole has her own web site ......... https://littlecarolewaller.com/ and has a facebook page ....... https://www.facebook.com/carole.waller.10 ... she's recently posted a picture of herself with Big Al (of the Mob) up there..

.............. A youtube clip of Melba's performance .......... (if you wanna see Kenny Hamber's 18 minute long slot you have to watch Part 2 of this 3 Part video of the recent show) ......

Melba just played a big gospel show in New England .......... .... this is what a local newspaper had to say on her performance ........ Miss Melba Moore — four-time Grammy nominee and Tony Award winner came out in a beautiful diva gown of sparkling midnight blue. Singing “Precious Lord, take my hand,” she demonstrated an incredible vocal range and powerful presence that has not diminished with age. She played with extemporaneous vocalizations as she sang, like an artist doodling on the page, which made the audience gasp. With “Power in the Blood,” she danced across the stage, the Sunday-go-to-meeting dance. “I got a new hip and a new knee,” she said, “so I feel like shoutin’.” She then launched into “Lean On Me,” a song written by Van McCoy for Aretha Franklin (not the Bill Withers song). “I’ll take the crumbs from the Queen’s table any day,” she said. She seemed to have fun playing with her higher vocal register and received a standing ovation. For the encore, she returned to the stage with a spectacular deep blue curling ribbon long coat, closing with “Can’t Stop Praising His Name.” Schenectady Mayor Gary McCarthy presented her with a key to the city, and as she departed the stage, she took the mayor’s arm, which charmed the audience. Some good photos are included with the article (including a really fine one of Kenny Hamber who was also on the show) .... ............... http://www.nippertown.com/2013/04/24/live-gospel-jubilee-proctors-41913/

A show the Magnificent Men headlined during the 'Capitol Records Soul Caravan' package tour in summer 1966 ...........

Born in the south and rooted in the church, Carole Waller grew up with a love of gospel music. She sang from an early age and started to write songs when only 13 years old. This skill, when coupled with her fine vocal abilities and good looks helped launch her on a long and enjoyable career path before she hit 18. She developed a particular liking for the more soulful gospel tunes as she was growing up. It was therefore only natural that when soul tracks made their chart breakthrough in the 60's, she was drawn to singing those songs. Carole joined her first group when 14 and landed a spot on the Roy Morris TV show (WRGP-TV Chattanooga) while still in high school. The reaction to her appearances back then helped her decide to embark on a career in the music business. She took the decision to go on the road after landing a Atlanta based booking agent and was soon performing her versions of top soul songs in dance clubs across Georgia, Alabama, North Carolina and Florida. One club where she was a favourite was Fred Koury's Plantation Supper Club in Greensboro, North Carolina. This club was only the third venue she played after going on the road and it was at about that time that she wrote “This Love of Mine”. As Carole gained experience, she quickly developed stage presence and was soon considered an all around entertainer. Opportunities were soon presenting themselves from even further afield and this led her to take on work in the Chicago area. After only 8 months of touring, she was impressing club owners enough for one of them to take a hand in moving her career onto the next level. She was booked to play Nate Pasero's 'Gi Gi A Go Go Club' in Lyons, Illinois (a western suburb of Chicago). Pasero arranged for Carole's picture to feature on the cover of a local entertainment magazine to publicise her appearance. This caught the attention of two local record company men and as a result, Paul Glass of USA Records and Eddie Mascary of Mercury Records, came to see her perform. For the show, Carole was backed up by Ronnie Ross & the Good Guys. She performed three of her own songs and this fact really impressed both of the record label guys. She was offered record deals by both of them but Carole was most impressed with Paul Glass and so decided to sign with USA Records (he was also willing for her to cut one of her own songs). Glass teamed her up with Bobby Whiteside, a singer, songwriter, arranger and producer who was also a USA artist and who would go on to work for Chess and Curtom Records. The songs she would record were selected and all the preparations made for her session which strangely wasn't held at Glass's own studio (48th St & Cottage Grove) but at the Chess studios. Bobby Whiteside and Paul Glass selected a Van McCoy song, “Stop & Get a Hold of Yourself”, for her to cut and it helped in the studio that she liked the song. “This Love of Mine”, the song Carole had written herself, was the second track that she laid down. As Glass also owned All State Record Distributors, he had very good contacts throughout the business. Because of this, Carole had every confidence that he would market her records effectively. Another act signed to USA Records were the Buckinghams and they had a hit 45 in Chicago in September 66 with “I've Been Wrong”. The track peaked just outside radio station WLS's Top 10 and with all the airplay it got, the record sold well around the city. The Buckingham's follow-up ("Kind of a Drag" USA # 860) escaped in late November 66. This track took off very quickly, making the local charts on release before entering the national pop charts at the very end of the year. It kept climbing the US pop singles charts over the next few weeks, making it to No.1 in mid February. With USA Records enjoying pop success, it seems Paul Glass saw similar opportunities for Carole. She went back into the studio and cut two more songs, one of these being “Say Say Chicken Man”). In 1966, for WCFL radio DJ Jim Runyon's morning show, Dick Orkin had created a satire on the "Batman" TV series called "Chickenman" and the song was a homage to those spots (which soon become so popular they were syndicated across numerous radio stations). The song also took inspiration from a current Tommy James hit cut “Say I Am” (which had entered the US pop charts in mid August 1966 and remained on them for 4 to 6 weeks.). Although it wasn't her first recording, it seems (going by label catalogue numbering) that her first single release was “Say Say Chicken Man c/w I'll Never Get Away“ (USA # 854). This must have escaped around September 1966 but made little impact outside of Chicago itself (where it obviously got plays on WCFL). Carole was never taken with “Say Say Chicken Man” and just about totally blanked out the record's release. She would rather remember her other USA 45 as being her first ever record release. Early in 1967, her second record was readied. “Stop & Get a Hold of Yourself” was selected to be the plug side of this 45 (USA # 863). “This Love of Mine” (the song Carole had written) became the flip side of the single. Review copies of the record were sent out and it gained a Top 100 pop chart tip in a Billboard magazine review dated 11th February, 1967. Everything was set for her new release to make the charts, it was doing especially well in Chicago, New York and the mid west. But just as it was threatening to break though, Paul Glass stopped all promotion on the single. With her tracks sounding 'black' and getting plays on soul radio shows, he started to get enquiries from chitlin circuit venues who wanted to book her. With Carole being young, innocent and white, to get offers of bookings for her from places like the Apollo in Harlem rather alarmed him. He didn't think she would be safe taking on such engagements and came to the conclusion that it wasn't a good idea to market her as a 'soul artist'. Between September 66 and April 67, most of Paul Glass's (& USA Records) efforts had been going into pressing, promoting, distributing & selling the Buckinghams' releases. With all the pop success they were enjoying, Glass decided that he wanted a different sound from Carole and that wasn't to be the soul songs that she preferred singing. She wasn't at all happy with the new musical direction he wanted her to take and that effectively spelt the end of her time with USA. She moved on and flung herself back into live work. She was soon clocking up gig after gig around Chicago, a venue they played on numerous occasions was Western Illinois State College in Macomb (Illinois). Other bookings were picked up in Ohio (she appeared at the Carousel Club in Toledo with Ronnie Ross & the Good Guys in May 1968), New York and Florida. Carole also got to perform in Las Vegas, securing a booking at the famous Flamingo Hotel. She did get to do some more recording work for a couple of companies (Reo Records being one of them) but little came of these projects. By 1970, Carole had joined Cirkus, herself and Ronnie Ross fronting the group. They were soon a popular draw and were securing bookings across a wide area. In May 1970 they enjoyed a successful stint at the Rhoda arms in Newburgh, New York before Carole and Ronnie found themselves booked back into the Carousel Club in Toledo in 1971. It was while she was with Cirkus that she got to appear on the same bill as the Mob. Carole had played the same venues as the Mob on numerous occasions but only shared the stage with the group once, this being on a gig in Orlando, Florida. After Cirkus folded, Carole was in a similar outfit who went by the name of Moppy. She then got to team up with the Mob's lead singer Big Al Herrera. Carole still based herself in Chicago, as did Big Al. They got together to sing with the Bob Young Band and Carole has nothing but good things to say about Al (needless to say, Al holds Carole in high regard). From 1983 to 1986 Carole worked at Rupert's 33 Club in Chicago. Here she was one of the main featured artists with the Rupert's 33 Club Orchestra and Singers. However after 20 years as an entertainer, she decided it was finally time to head back down south. She relocated to Tennessee and commenced a new chapter in her life. Today, she is the music director at a local church and still performs herself sometimes. She owns the copyright to her USA recordings but only learnt of the popularity of her old tracks two to three years ago. She sang many styles of music throughout her career, but soul music always remained her first love. Pleased that her old records are still appreciated, Carole is seeking a way to capitalise on their popularity.