Roburt

As might be expected, Harvey Averne's Latin Jazz tracks were very popular in South America. He had hits in Argentina, his records sold well in Brazil and he was a regular visitor to Puerto Rico. He only stayed with Fania / Uptite for a little over a year end of 68, 69 + a bit of 70). Before mid 1970 he was Liberty / UA's Latin Division main promotions man. He produced the Funky People's UA 45 which I believe was an early April 1970 release. Might be a better bet to search for copies of his rarer outings in those countries.

It is a good show ......... just wish they had recorded (& kept) these earlier efforts .........

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Born: June 16th 1943 -- Harrisburg, Pennsylvania The 14 year-Old Beverly Ann Gibson had won the amateur hour at the Apollo theatre in New York. The win led to her landing a deal with Imperial Records in May 1958 ("The Ways Of Love") Beverley's cause had been taken up in New York by Julius Dixon (a veteran songwriter whose successes included Bill Halley's "Dim Dim the Lights" in 1954 & the Chordettes' 1958 smash "Lollipop"). Dixon dabbled in all areas of the music business and in 1958, he launched the Deb Label as a vehicle for Beverly. She introduced Dixon to the Chanels who also hailed from Harrisburg and they were also signed to his label. Her 1st Deb 45 was released in February 1959 -- "Loves Burning Fire" & the record soon broke big in Baltimore.The single entered the Top 20 National R&B chart in mid March & she performed for a big music biz audience at Hotel Essex House, Newark on March 21st . April saw the track breaking really big in Chicago & New York and all the success led to Beverly landing a prestigious gig with the Drifters at Sparrows Beach (a weekend retreat for blacks outside Annapolis, Maryland). The Deb label wasn't a big enough concern to really build on her initial hit and so Beverley soon found herself with King Records. Her 1st King 45 escaped in August 59 ("Call on Me" - KING 5244) with "Oh Yes I Love" (KING 5258) being released in October. Before December was out, "Wait and See" (KING 5288) was in the shops and her 4th King 45 followed in February 60 ("No Other But You"). Some of these enjoyed regional success but none repeated the sales her first single had enjoyed. Her career went quiet for a while and even a new outing for her earlier hit "Loves Burning Fire" on the Landa label (# 671) in June 1961 did little to change the situation. However, she was to make a strong return in 1963. Jubilee had signed her and they put out the 45 "Do The Monkey / A Three Dollar Bill" which was advertised in the trade press in April. By July 63 the top side was doing really well in Chicago. This was probably due to two reasons. She still had an established profile with radio DJ's who had been around in 1958 plus 'the Monkey' was just about the top dance craze in the city at the time (all the local kids looking for other cuts to dance to after they had learnt the steps from Major Lance's local smash "Monkey Time"). However it is the flip of her only Jubilee 45 that has gone on to find favour with soul fans around the world, "Three Dollar Bill" getting loads of NS exposure down the years and this resulted in it being included on Sequel's 'Soul Underground Vol.2' CD. Beverly married and soon had a family to look after, so her recording career came to an end. She lived back in Harrisburg until her death (just after her 64th birthday) in June 2007.

I've got a few Trojan CD's, many have been put out here over the last 10 years or so. There's too many available to check through ..... ... can anyone tell me if "Dark End of the Street" by Little Boy Blue (released in the UK on Jackpot in 69) is on one of those UK CD's ??

Great story. Good on Numero for unearthing the old track, putting it out & placing it in the film.

Daft thing was back then ........... Billboard was still printing tips for the version of the Wally Cox 45 on Wand in mid January 71 just a few (4) weeks before they said Wally had signed with Golden State as a producer & his existing track was being licensed out to Kent Records.

The Ripple Blast Band had an LP of instrumentals out on Power around 1968. Seems that Power Records couldn't be bothered to get new photos taken as the album cover just shows 3 people who I would guess were the singers with the band ..........

Just noticed that Doc Bagby (there was a thread on a single by him on here recently) had an LP full of Drifters covers released on the Power label (which put out all the Ripple Blast Singers albums). I doesn't sell for much; so guess no one wants late 60's jazzy combo organ led instro versions of Drifters hits.

Lifted from 1971 editions of Billboard mag .............

Well I hope it certainly never gets played at a venue I'm at.

The uda side of this 45 was the official A side -- "Palm of Your Hand". The track was produced by Chicago Heights DJ Buddy Beason & it was mentioned in Billboard mag (as a new release) in mid October 1970. Another 45 due out then on Contact was from (11 yr old) Little Tyrone (Jones) -- "I Wonder What The World Would be Like if Kids Ruled the World" and a gospel 45 by Samuel Sanders & the M&N Singers was also ready to be issued. Can't find much on Buddy Beason but I guess he was a DJ on WMPP (or WCGO).

I'm told that Goldie & the Gingerbreads played a gig at the Mojo in 1965 (March or April), so their 45's must have been played at sessions held at the club back then.

Some of the above is guess work but as Roy Hepburn was another artist who had a 45 out on Desiree ("Loving Lies"), I checked up on his details. He was from Nashville & was in a couple of groups from there in the 50/60's (The Sliders who cut for Decca in the 50's) & the Skipper Hunt Combo. The Sliders would back visiting soul singers on gigs around Nashville in the 60's. Here they are behind (well in front really) of Carla Thomas (Roy Hepburn is the drummer) ......

I'm just about certain that General Assembly were from Nashville & I believe this is a picture of them .... They seemed to be led by a guy called Larry Perigo. Born in Nashville, TN. Larry Perigo started playing guitar at 9 years old and took up the violin while in 4th grade. He began a singing career in bands in 1963. He was later encouraged by a band member to give the saxophone a try. This resulted in him becoming a part of several local favorite bands throughout the 60‘s. In 1969 his band (The General Assembly Show) became a part of the Phil Harris Show in the main showroom at a Las Vegas hotel which featured the Harry James Orchestra and Frank Sinatra, Jr. This proved to be a great learning experience. After returning to Nashville he started The Headliners and they performed their first date on April 23, 1973 as a four piece band. It had immediate popularity in Nashville and was called to do another show with Phil Harris at the Fairmont Hotel in New Orleans this time featuring the Pete Fountain Orchestra. The Headliners also did shows in a Las Vegas lounge.

Their cuts were produced by Jerry Tuttle. Jerry started out as a recording artist (on Dot) in 1960 & moved on to cutting country, rockabilly & soul covers / soul sounding tracks on white groups / singers in the mid to late 60's. He produced a version of "Harlem Shuffle" on the Fabulous Pack (who had been Terry Knights backing group; Terry Knight & the Pack) on Lucky Eleven in June 67. The label was based out of Flint, Michigan and Terry Knight & the Pack had 5 or so 45's out on the inking in 66/67. When their cover of "I (Who Have Nothing") was a big hit in 66, Cameo Parkway picked up the label for national distribution. Knight toured all acoss the US on the back of that hit & in his backing band on that tour was Lou Ragland (in fact it was that job that got Lou back into the music biz after he had hung his guitar up for some months). Tuttle also produced (& wrote for) Chuck Slaughter & Kay Tolliver who cut for Lucky Eleven in 65/66. The label relocated to Nashville at the same time that Tuttle did. He seemed to go on to be in a weird country style band out of Nashville in the 70's called Tennessee Pulleybone (JMI / RCA).

Goldie & the Gingerbreads on UK TV ............. And Goldie (Genya Ravan) on a soul song she cut at a later date ............

When I was still in school (early 65) and was an aspiring mod (saving up to buy the 1962 Lambretta 175 I bought a few months later), I went to a local 'art student' run disco (one of the art student's dads had a brick shed standing empty in Bentley & he allowed the lads to do it up as a disco & open to all & sundry). Anyway, one of the 45's I recall being played in the early weeks was Goldie & the Gingerbreads "Can't You Hear My Heartbeat" and this was quite popular for a short while (it even made the UK Pop Top 30 which is why it was probably dropped instantly as a play at the club). It's strange coz it was very 'white' sounding and became (at about the same time as G&G's version hit the UK charts) a big US hit for Herman's Hermits. It was (I believe) a UK 45 B side to HH's big UK chart hit "Silhouettes". If we had known that HH's had cut the song it would never have been spun in the 1st place (HH being considered just about the naff-ist of all UK pop groups). I wonder if G&G's record was ever played at the Mojo or Wheel; guess not.

Going off topic a bit, but is the story of the Superlatives well documented anywhere (in the booklet notes of an Ace / Kent Westbound CD maybe) ?? Any pointers as where I could look much appreciated. It seems that Butler Abney, Dynamics Records it's releases & artists weren't really interested in breaking much outside Detroit as none even get a mention in any editions of Billboard mag. The Superlatives get a passing comment in a big Billboard piece on Westbound Records in late 1974 .... but the main thrust of that info is how the 'Westbound guys' (Boladian & Mendelson) jumped in when Motown quit the city and signed up many black acts that had a good club reputation across the Michigan to Illinois areas. When they had product out, Boladian would visit radio stns such as WJLB, WCAB, WGPP and even CKLW in attempt to secure airtime for the label's new 45 (or LP tracks). Armen Boladian's 1st break in the mid 60's seemed to be the profile he established getting behind "You're The One" by the Vogues on Co & Ce when he was ordering stock at a local record distributors. By 1969, he was president of Detroit's Record Distributors Corporation and he started Westbound at about the same time.

RE: an uptempo version of the old Walker Brothers hit "The Sun Ain't Gonna Shine Anymore". ......... Dave ...... don't you really mean an uptempo version of the regional US Frankie Valli hit (it was his 1st solo release even though it was cut at a 4 Seasons studio session).

FOLLOW ON FROM POST # 106 ...... When I used to visit F L Moores (both at the old house & then when they moved into the town centre above a row of shops -- where they were based by April 1970), I only ever remember seeing soul 45's ....... mind you, that was all I was looking for. I guess (from the US ad they placed) that they would have been offered US 45's (& LP's) of all genres, I just don't recall this being the case back then. Anyone buy non soul US vinyl off them in the late 60's or early 70's ?? By the way, I can recall visiting them at their new premises in early April 1970 really vividly. I took a copy of the new edition of B&S with me (to pass the time on the long rail journey). In that, I read the obit the mag published for Tammi Terrell. So the 1st thing I asked for upon arriving at the shop was any solo T.T. 45's that they had in stock. Anyone know when they moved premises ??

RE: The closure of the Wheel coincided with the influx of millions of 45s being brought in from the states by Bostocks,F.L.Moores etc. F L Moores (in Leighton Buzzard) was going way before the Wheel closed. I left WRCC in Wakefield & joined BR at Dony around 1968. That meant I got free train travel after a few weeks service. I used to catch the train down to Leighton Buzzard (via Kings X & Euston), visit F L Moores in the old detached house up the road from the station & buy in a stock of import 45's (I recall Soul Bros 6 "You'd Better Check Yourself" being a biggie for me). Then it was train to Manc & into the Wheel to double my money by selling the singles I'd just picked up at F L Moores. Only trouble was (in the early months), I'd be buying the 45's I knew (& which I knew I could sell copies of) rather then any of the 'then unknown to me' gems that were also on the shelves in Leighton Buzzard. FROM a 60's BILLBOARD MAG ............... ad placed 3 weeks running from early November 68 .....

He did a cut with a Belgium woman; Sofie (I Wanna Know What Love Is") but think that was CD single only (though probably limited availability for club DJ's as a vinyl promo). Then there's the UK only Motown 12" promo of tracks off his Beverly Glenn LP ... but that doesn't match the description of it having a black label.

I agree with Keith above. Back around 64, it was a mod scene (in the north & midlands at least) so the top sounds were by the Small Faces, Who, Georgie Fame, Zoot Money, Cliff Bennett, Spencer Davis (though lots of their stage acts were soul covers). US tracks by the likes of Len Barry, Mitch Ryder & DW plus the Soul Survivors (a mixed race group but we thought they were white back then) were also played everywhere. You even got instrumental orchestral tracks such as "Cast Your Fate to The Wind" becoming club biggies. The club play list seemed to change quite quickly as 65 kicked in but it was still nowhere near being NS orientated as the big tracks became things like "Jump Back", "Walking the Dog", "You Don't Know Like I Know", "Ride Your Pony", "Everybody Needs Somebody To Love" & "You Got What It Takes, etc.