Roburt

Plus you have to be a bit careful with stuff like the Platters 'Going Back To Detroit' tracks. The backing tracks were definitely from Detroit (used on earlier indie label tracks). The orig vocals were removed & the tracks sent off to Musicor in New York. Sonny Turner would then fly in to New York, learn the lyrics, enter the studio with some local backing singers & then cut the required tracks. By tea-time, he'd be out of the city & flying back to join the rest of the group on their next live engagement. So, the music is Detroit recorded but none of the vocals were.

Dony (being a very important conurbation & the centre of the universe) had 2 council run swimming baths back in the 60's. The 'old' baths were between St Georges church & the railway (Greyfriars area just below North Bridge). The new baths were in the town centre (Waterdale area - where the Balby bus terminal was located). My Junior school used the 'old' baths for our school swimming lessons, so was there once a week at least up till around 1961.

How many live acts were put on at the venue ..... @ the soul allniters not @ Queens Hall in general ?? I know Steve Croft booked Lou Ragland for a live appearance (singing over backing tapes) coz I organised / ran that tour for Lou.

There are still a few ways to go........ you can place the memorabilia on first (haphazard or in line) and then put the 45 over the top so that it obscures some of the club cards / ads ........... .................. OR ........... you can get a frame mount with a cut out in it. Arrange the memorabilia to show thru the cut out & then have the record sit above that. Plenty of different options to consider ......... Here's examples of what I've done in the past ..... ..... haphazardly placed Soul City memorabilia; 45 placed in hole in photo mount card with record company brass plate @ bottom; or another idea that works well is to place the 45 over a copy of the song's sheet music (Bobby Hebb 45) .......

I have made up quite a few framed records, both 45's & LP's. .......... there are 2 different ways to go ........... It's easy to buy 8" x 8" or 12" x 12" square frames and records look great in these. HOWEVER .... if you want more than just the record in the frame, it's best to go for rectangular frames. An LP record with the front sleeve cover alongside it looks great but the frame has to be BIG to achieve this (24" x 12"). With a 45 its a lot easier as the size is more manageable. So a 12" x 8" or 15" x 8" frame is fine. I have framed up 3 x 78's + 1 x 45 that I have had hanging in the living room for over 20 years ...... + I made this one up (framed LP) about 12 years back as a prize at a weekender (photo awful as light is reflecting back off glass) ..... The ones I have done more recently are a lot more colourful (we just about all decent printers at home now)

Quite a few Yorkshire municipal pools would board over the pool with a dance floor and hold pop concerts in the place. It was a bit before my club going days (1963 rather than 1965 onwards) but I seem to recall the 'old' swimming baths in Dony holding such events. (no soul acts on that early but no doubt a few R&R acts were involved).

Fascinations - Girls Are Out to Get You Robert Parker - Barefooting Impressions - You Been Cheatin Donald Height - 365 Days Homer Banks - 60 Minutes of Your Love

Some early release UK songs (late 50's) written by a well known guy were credited to Barry Gordy on the record labels and sheet music ...... ...... after all, the Brits involved knew he couldn't have a stupid name like Berry Gordy.

Good on you.

Another show @ the Howard ... this must have confused a few folk in DC ,,,,,,, Top of the bill was David Ruffin & his new group (DR & his Boys it says coz David didn't want them to still go by the name of the Cavaliers). A few days later he came up with a real name for the new group and that was David Ruffin & the Fellas. Anyway, after cutting some tracks away from Berry Gordy's outfit, David was quickly tempted back into the Motown fold and the Fellas were dumped. But back to this show in DC and no doubt they didn't want to ID his group as the Cavaliers as this was the Detroit / Pied Piper outfit and not the DC based (Shrine) group of the same name.

As Jimmy McPhail got his 1st big break at the Howard, thought I'd post up some more shows from the theatre ........ .... two different (!?!?!) DC based acts feature here, the Knight Brothers and the Carltons .....

Going back to the above post ............ that 'Biggest Show of Stars for 67' package was on the road for over 3 months (probably even longer). Just goes to show how hard a lot of the support acts must have worked for the small fees involved ...... with tickets for the DC show costing from $2.50 and 8 hit acts being on the bill, the 'lower acts' (& I guess Spyder would have fallen into that category for this package) must have been raking off about 10 cents from the sale of each ticket. Another DC show ............... Old Town & Polydor recording artist .... at Jimmy McPhail's Gold Room. Jimmy McPhail (born in 1929; died 1998) was a DC based blues singer who was born in NC but moved to DC as a infant. In 1950, McPhail won a talent contest sponsored by radio station WWDC, First prize was a week's engagement at the Howard Theater with Duke Ellington, who asked him to come to New York to perform. However, McPhail also got to perform at the Howard with Ella Fitzgerald, who asked her agent to find him additional work and helped launch his national career. In 1959, McPhail bought the Melody Inn, a nightclub on Bladensburg Road NE where he had been performing regularly. He operated it as Jimmy McPhail's Gold Room, featuring many of the best-known names in blues. After the 1968 riots closed some longtime District nightspots, the Gold Room was one of the few places left with a 'comfortable, intimate environment'. Etta Jones would play gigs in conjunction with tenor saxophonist Houston Person for many years (right up until her death in fact). The pair were first booked together in 1968 at Jimmy's Gold Room.

Following on from the example set them by the Beatles & Stones, just about every UK beat group built their live acts around covers of soul tracks. This was included on the group's 1st LP in 68. As "Bend Me, Shape Me" exploded onto the chart Decca / Deram wanted an album instantly, so the group shot into the studio and performed what was in effect their current live stage act. Songs on the LP include Our Love Is (In The Pocket), Something You've Got, Expressway (To Your Heart), Let The Good Times Roll / Feel So Good, I Don't Want To Discuss It And Amen. Seem to recall that the Move's biggie on live shows was "Open The Door To Your Heart"

Not as good quality when compared to the similar ads I have put up on the Spyder Turner UK gig thread ..... .... but the only copy I have for this DC show was taken from an old newspaper ....

The young pianist in this jazz trio that had secured a regular engagement at a DC club would go on to greater things ....

Another popular DC soul act on this presentation .........

I've got loads more like these (many that have club gigs by local artists), but for now this is the best I can come up with ... .......... Ruby Johnson & the Carltons were DC artists ............

In the early 60's most UK clubs were blues (or for different crowds; jazz & folk) clubs. Mod (soul) clubs kicked off in London & the south initially followed by the rest of the country. So, the Brazenose St / Whitworth St musical change was far from unique. The Mojo in Sheffield replaced a blues club that was the place to go in 62/63-ish.

You can buy tickets for the show now .... $55 & upwards ....... https://www.ticketmaster.com/event/0300491B1750D2A6?artistid=1776746&majorcatid=10002&minorcatid=207

Was known (& got some plays) from the day Bobby's 45 was released in the UK.

Info on the Hal Hardy 45 ......... Seems that he may have been from Nashville .......

There was an various artists Xmas LP ('Happy Christmas, Baby' - LP 501) put out on Hollywood Records at the end of 65. I have no idea what artists / tracks it contained though.

1963 and the Treniers were in town .......... .... this group were in quite a few films in the 50's ........... Don't Knock the Rock (1956) The Girl Can't Help It (1957) Calypso Heat Wave (1957) Juke Box Rhythm (1959) They wanted a R&R President ... don't think Barack qualifies though I'm sure the guys would have approved of him ....

The guys that were Edwin Starr's backing band from 1965 to around 68 (the Soul Agents) became (after the 2 brass players went home to Cleveland) Black Merda. Their stuff (under the Black Merda name) was heavily influenced by the Hendrix' sound. It's not actually my 'cup of tea' .... ...... but it just shows how easy it was back then to go from performing as Impact (behind Gene Chandler, Billy Butler, the Artistics & the Spinners) to backing Edwin on "Back Street", "Stop Her On Sight", "You're My Mellow" & "25 Miles" to cutting "Foxy Lady" & "Reality". ............