Roburt

More info on 9th Street Exit & Dunn Pearson .... ..... (suppose it needs its own thread but as the question was asked here, thought I'd start it off here at least) ............. DUNN PEARSON & 9th STREET EXIT Dunn Pearson was around on the Cleveland soul scene from the late 60's through to 1980 when he relocated to New York. In that time, he backed up many local soul groups & singers, formed & led groups himself, toured (in backing bands) with top acts such as the O'Jays. He has also cut, arranged and produced his own group plus other acts on recording sessions and has generally become a 'jack of all trades' on the music scene in the city and beyond. He learnt to play instruments and sang some during his school years. The original group he helped form were known as the Shades of Soul who came together in 1969/70. Bobby English was also born in Cleveland and he was in the same home room in Junior High School as Benny Slocum. The two of then were talking one day and decided to become involved in music. Bobby had considered playing the drums, but when Benny made the drums his instrument of choice, Bobby quickly took up the saxophone. Bobby was inspired by the likes of Cannonball Adderley. Ironically, the pair started off playing in competing bands. Benny was with The Shades of Soul and Bobby with a group called The Citations. But when Benny & the other guys in Shades of Soul heard him play a solo from a Rare Earth album, they asked Bobby to join their group. The new ensemble started out as a self-contained group and they played local clubs and talent shows, quickly learning their trade. In the group's early they would play tunes by Booker T & the MG's and other instrumental tunes that featured Dunn. Kenny Red would sing lead on songs Isley Brothers cuts and pop songs such as "Midnight at the Oasis," and "On a Horse with No Name." Booby would take lead on "Ain't No Sunshine", "I Don't Want The Night to End" (a Phoebe Snow tune) and he was also responsible for getting the outfit to play a lot of jazz tunes (songs by the likes of Roy Ayers, John Klemmer, and the (Jazz) Crusaders). The group soon came to the attention of the manager of local boy band the Ponderosa Twins + One who had just made the big time (hitting nationally with a cover of Sam Cooke's “You Send Me” on Horoscope in September 1971). So they became that group's backing band and almost instantly went out on nationwide tours. The members of the band were Dunn Pearson (piano), Kenny Redon (guitar + vocals ; known as Kenny Redd but a different guy to the one who was in True Movement), Bobby English (sax + vocals), Benny Slocum (drums), Ernie Cary (bass), Booker Hollins (percussion) plus two brothers David (older) & Bobby Johnson (who were transitional members of the band as were some others). When they were touring with the Ponderosa Twins, they opened shows for Gladys Knight & The Pips, Kool & The Gang, Al Green, James Brown and many more top seeling acts. They toured right up and down the east coast but when the Twins' voices started to change, that was the end of them. After the Ponderosa Twins broke up, they became the Imperial Wonders backing band. They soon decided to go out on their own and were dubbed 9th Street Exit (the name being dreamed up by Lou Ragland & Walter Williams. 9th Street Exit being the slip road off the freeway that led into central Cleveland). With their connections to Bobby Massey and the other O'Jays, they soon landed a record deal with the locally based Solid Foundation label. Two singles soon escaped; “(Let's Make) Sweet Harmony” (SF 103) and “9th Street” (SF 107). The group got to play the songs they had recorded in local clubs and the tracks got limited local radio airplay, but significant numbers of the 45's weren't sold. Bobby didn't even remember playing on those tracks and thought that he may have been off at college at the time. They worked on tracks to form an album (to be issued under the title 'Be Happy' (B55101) but the cuts were never finished and no LP materialised. Benny, Kenny and Bobby did all the lead singing for the group and they were always competing with each another. Benny sang songs by the likes of Isaac Hayes and Barry White (he had a very nice semi-baritone voice). One of Bobby's favourite songs was Brook Benton's "Rainy Night In Georgia”. He also did a great version of "Sweet Thing" by Chaka Khan. 9th Street was regarded as a really class act. They performed all styles of music including soul, jazz, funk, r&b, rock and pop. They did a version of "Cloudy" (the Average White Band track) that included a section where the band would start swinging and Bobby would break into scat singing. One of their favourite groups was Sly and The Family Stone. When they performed at rock concerts in high school, Dunn would dress just like Sly and he would look exactly like him. Everyone acknowledged that Dunn was the most proficient musician in the group. He had complete command of his instrument and many times would play a red, white and blue Farfisa organ (just like Sly Stone). The group also acted as the studio band backing up the Imperial Wonders on the tracks they cut for Solid Foundation (as did some members of the O’Jays backing band). Bobby Massey had become the groups manager but unfortunately their releases failed to sell much outside of Cleveland itself. Dunn Pearson was learning all the time though, so he got more into song writing, producing & arranging. He picked up many 'studio skills' working on those Solid Foundation sessions. He also worked on tracks as the arranger for Way Out (Jessie Fisher “Mr. Super Nobody / Don’t Cheat On Me” in 1973), Miystic Insight Records (True Movement -- "Depression / What A Lovely Way To Meet" & Sonny Lovall —“Ghetto Boy” in 1974) Shaker Records ( Bobby & Cindy — “If This Ain't Really Love / I’ll Keep Coming Back” in 1975), CAM (Odyssey & Company — “Let Me Be / She’s Perfect”), Devaki Records (Truth — “Understanding / See You Later” in 1980) and he even got to co-produce “You’re The Girl Of My Dreams” for the O’Jays (a 1980 TSOP release). Another job he landed was the producer's role for Akron Ohio based female group M’Lady. This trio landed a deal with 20th Century Records and had 2 x 12” releases on the label (“Sweet Honey / Baby You Lied” being the 1st). By 1980, Dunn had become a 'big fish in a little pond' and so he relocated to New York but continued to work with Cleveland artists. Dunn also wrote the song “All I Want Is You” that he then cut on Four Flights (Almeria: 1978) and on Sly, Slick & Wicked (Sweet City / Epic: 1979). With their records not doing too well, the members of 9th Street Exit had become a bit disillusioned. Dunn left the group and went off to play in the O'Jay's tour band. That didn't immediately lead to the group's break up but it had a number of personnel changes. At one point they had two guitar players and then they added a piano player and two additional sax players. Bobby had just about left the group in 1977 when he was away in college, but he returned in 1978 after graduating. They played on for a little while but eventually disbanded. Bobby started playing with a jazz quartet in the early 80's and moved to Chicago in 1985 where he enrolled in graduate school. Here he studied for and was awarded a masters degree in entertainment management. While in Chicago, he continued to play and record, getting to perform all around Chicago itself plus across Indiana and Wisconsin. After 9th Street Exit had broken up, it's other members also moved on. After Dunn left the group had a number of personnel changes. At one point we had two guitar players and at another we added a piano player and two additional sax players. Benny passed away many years ago, he was shot and killed when someone attempted to rob him around 1982. Bobby himself had moved back to Cleveland from Chicago in 1990. There he started playing in a 'wedding band' with Kenny and Ernie. Ernie and Kenny were still playing together at the end of the 90's. While they were all in the wedding band they would play some of the 9th Street Exit songs. Amazingly, though many years had passed, Kenny still remembered every song and lick. When Bobby had auditioned for the wedding band (at Ernie's request) the leader of the band had asked if he sang. Kenny and Ernie immediately started playing "Sara Smile" and Bobby had started singing the song (which had been one of the songs he had sung with 9th Street). Back around 2000, Bobby English lived in LA. Ernie passed away, he died of a heart attack in the late 1990's. Dunn had teamed up with Bruce Gray (probably via his O'Jays Philly connection) and they formed Dunn & Bruce Street. As half of Dunn & Bruce Street he had a number of releases. “ If You Come With Me / The Moment Of Truth” (Devaki DK 4005) was issued in 1981, the A side being both written, produced & arranged by Dunn and Bruce (this also got a UK release on Satril in 83 with a different B side -- Satril SAT 503). Next up came “Shout For Joy / Yearnin & Burnin” (DK1009) in 1982 (both tracks being written, produced & arranged by Dunn & Bruce — this also escaped as a UK 12” release as SATRIL SAT 500 in 82). An album, 'Official Business' (Devaki DKI 30003), also came out in 82 and this featured 8 tracks (all being written, produced & arranged by pair). All the duet's tracks were recorded at Blank Tape Studios, New York and featured Bruce Gray on lead vocals. Dunn handled backing vocals along with Tawatha Agee, Fonzie Thornton, etc. The musicians on their recordings were Dunn (keys / synths), Bruce, Phillip Woo (drums), Yogi Horton, Woody Cunningham (bass) Raymond Jackson (guitar) & Doc Powell. From 1983, Dunn started to cut solo efforts while continuing to work in the studio with other artists. He cut “ Go For The Gusto” (Compose 9904-12) in 1989 that featured Jocelyn Brown on lead vocals. This was followed by a 10 track album (9904-1) on which all the songs were self written except Gary Glenn's “Caught Up In The Rapture”. He worked with musicians & vocalists such as Grover Washington, Noel Pointer, Bernard Watt, Doc Powell, Willie Ross and Benny Diggs. A good vocal track, “Most Definitely” was laid down at Hip Pocket Studio, NY and this came out on Bounce. Dunn also worked in the studio with Teddy Prendergrass, Stephanie Mills, Lou Rawls, Mtume, the Spinners, Stevie Wonder, D’Angelo, LSG ( Levert, Sweat, Gill), Mary J Blige and others. He scored the Broadway musical 'Amen Corner' and films like “Native Son “ & “Head Office”. He also worked on the TV show ‘New York Undercover’ and composed dozens of commercials. He did other work for PPI and in 1999, the CD 'Under Cover Lover' (again for Bounce Records of Newark, NJ). This CD featured “Up All Night” cut with April Harris & Najee. Since then he has also worked with Grover Washington (again), Fred Watt, Marion Meadows, Freddie Hubbard, Freddie Jackson, Portia Martin, Voice of Harmony, Janice Dempsey, Gerald Albright and Patrice Rushen. So from his humble musical beginnings in Cleveland, Dunn has gone on to leave a lasting legacy in the recording & performing worlds. Many of his old recordings and production efforts are much sought after by record collectors, having stood up to the 'test of time' more than adequately.

Hullsoul said ............. Say "Hi" to Graham Boulton if you see him,not seen him since I was a teenager. Pat Mercer had a stonemasons shop at one time at top of our street,didn't really know him to talk to like Graham,Steve Jenny & Stu Mumby (who I once went to Wigan with in his MG......that's another story ) Spent time with Graham Boulton & Stu Mumby in the UK and at your Mike's in Sth France about 15 months back. Graham lives in Australia now but Stu now lives between York & Hull and is STILL into MG's. Pat Mercer (last I heard) was living in Adwick (north end of Dony where our kid lives); not heard of Steve Mercer for many a year.

a few more places in the city centre & on Holderness Rd........That could be Regis Records ....... it was Regis Records; got loads of 45's from there between 1966 & 1970. That would be "Moving Scene"."Moving Scene" was a big haunt of our Mike,Ian & all there mates. Yep, that was it and I was one of your Mike's mates (along with Steve Jennerson, Pat & Steve Mercer, Graham Boulton and many more). Got loads of import Motown LP's from the supermarket on Holderness Rd near East Park (Jacksons ?) in the 70's as well as loads of import MGM / Verve 45's from Boyes Dept Store up near there.

Like many Cleveland based projects, the 9th St Exit LP never made it into the shops.

Seems Yorkshire soul folk thought alike back in the mid 60's. When the Mojo went from niters to Sunday alldayers in mid 67, the age of the crowd dropped. Us 'old-heads' used to moan all the time about all the 'mini-mods' spoiling our club. BTW, this was a similar do to the one Keith referred to (an alldayer staged by Stringfellow in Leeds on June 3rd 1968) .....

I totally agree with you Ian. There are some decent books out there that capture some of what went down in the 60's (The In Crowd, etc.) but they can only really scratch the surface as there were mod / soul crowds / scenes/ clubs in just about every big town & city. If something isn't done soon to collect up & preserve old club membership cards, club ads & flyers & peoples memories they will be lost forever. Its the same as is happening at present with old master tapes (crumbling away before the treasures they contain can be preserved. Also the same for the recollections of 60's era soul singers / musicians. Times were very different back then & so how they lived, survived & held it together on the road and in the studio needs to be documented. No plush jets to get them from gig to gig. It was travelling through the night in station wagons to fulfill chiltin circuit bookings whilst (in many areas) finding it difficult to buy food and find lodgings. ......... I've just 'updated' an old article I did on Edwin Starr's years in Cleveland and it was Bill Doggett that 'discovered' Edwin there and took him on the road. Now Bill Doggett was a major artist over a 50 year period and enjoyed 10 or so massive US hits (including "Honky Tonk" which was No.1 in 1956). Bill didn't sing himself (his recordings were just about all instrumentals) but on tour he always had featured singers. Edwin became one of those featured singers from 1963 (when in the year I have no idea) through to May 1965. Betty Everett toured with Doggett some in 1964 (though she had already started having solo hits & was cutting duets with Jerry Butler). If you want to find out info on when singers joined & left Doggett's Review it's almost impossible. Another singer who toured with Doggett for some years was Betty St. Clair. Born Betty Waddell in 1927 in Columbus. Ohio. It was there that she started singing with bands while attending East High School. Next, still a teenager, she won a big beauty contest. In the 1940's she got her first break with Butterbeans & Susie. She went on to sing with Errol Garner, Howard McGhee & Dizzy Gillespie (1949). Landing her own record contact, she recorded four albums between 1955 and 1960. During those years she was based in New York where she was a regular performer in local clubs. Sometime in the early 60's, she hooked up with Bill Doggett and toured with him until after 1966. She then seems to have retired until she succumbed to cancer in 1972. Betty's work was much respected in jazz circles & her LP's are collectable. She also had a jukebox 7" Little LP out in the mid 50's as her music was popular on juke joint machines. But as far as jazz people know, she disappeared after cutting her last LP in 1960. When she teamed up with Doggett & eventually left his review doesn't seem to be detailed at all. She was with his review from the early to mid 60's, spending some time with him in conjunction with Edwin Starr. Doggett played 'down & dirty' R&B tunes, Edwin sang straight soul but she was an 'out & out' jazz singer. How all 3 styles held together to end up with a cohesive show every night I have no idea ..... AND ... we're never likely to know now. That info seems lost forever. Betty's singing style ................ https://www.youtube.com/watch?v=m8H5N6l3OtE If something isn't done to 'capture' the 60's soul / mod info, we will also loose much of that too.

Are you talking about Kegsy back in the day ... OR ... how he carries on @ every Cleggy Weekender (coz it certainly sounds like the later to me).

Edwin Starr was recruited by Bill Doggett in 1963 and went on the road with Bill's revue (singing lead vocals) from then. One of the early things Edwin must have done (though he wasn't using the name Edwin Starr yet) was to play percussion on the tracks included on Bill Doggett's ABC LP 'Wow' (cut in 64, released in January 1965). This album was issued in the US, Canada, UK, India & other regions, with a 7” jukebox 'Little LP' escaping in the States in May 65. However, Edwin can't have been on the road solidly with Bill's outfit all the time throughout 1964 (and up to June 65) as he isn't name checked on some shows that took place during that period. On August 23rd 1964, Bill Doggett's Orchestra played Carr's Beach in Maryland and for that show the featured people were Betty Everett, Billy Garner & Betty St Clair. On a show in Cleveland on Sunday March 21st 1965 at the 'House of Blues' (really Gleason's) — see attachment above -- Edwin, along with Betty St Clair were the featured singers with the review. Next time they turn up on a live show (that I know of) was in mid May 1965 when the ensemble had a week long engagement at the 20 Grand Club in Detroit. For this engagement, the featured people in the review were Edwin & Vanilla Thomas. It must have been after one of these shows that first Holliday Records & then Golden World signed Edwin to a record deal (the 1st contract was allowed to lapse when Golden World got involved). Edwin had been looking to cut a song he had recently written, “Agent OO Soul” but Doggett had been against the idea. So Edwin jumped ship, went into the Golden World studios in June 65 and his 1st Ric Tic 45 was cut, pressed & in the shops (+ on the Detroit charts) by the beginning of July 65. The rest is history ….......

A much later duet that features Jimmy ................

Gone but never forgotten ...........

We loose yet another old hero .......... Jimmy McC passed away yesterday .... R.I.P. ..... Tap to view this Soul Source News/Article in full

... & a later solo effort from Terry ..........

An early record that featured Terry & his brother Andy ............ ... Andy & the Marglows (Liberty) with a cover of a Doris Troy biggie ....

A tune from Terry & the group .....

Seems that he passed away 7 days ago at George Washington Hospital in DC.. https://www.washingtoncitypaper.com/blogs/artsdesk/music/2012/12/17/d-c-soul-legend-terry-huff-dead-at-65/ An article on him ........... https://www.washingto...-a-cop-an-rampb

This guy was involved with Way Out ............... Don King was born in Cleveland, Ohio. He ran an illegal bookmaking operation and was charged for killing two men in separate incidents 13 years apart. The 1st was determined to be justifiable homicide after it was found that King shot Hillary Brown in the back and killed him while he was attempting to rob one of King's gambling houses. King was then convicted of 2nd degree murder for the second killing in 1966 after he was found guilty of stomping to death an employee who owed him $600. King's attorney plea bargained his conviction down to non-negligent manslaughter for which he served just under four years in prison. King was later pardoned for the crime in 1983. King entered the boxing world after convincing Muhammad Ali to box in a charity exhibition for a local hospital in Cleveland with the help of singer Lloyd Price. Early on he formed a partnership with a local promoter named Don Elbaum, who already had a stable of fighters in Cleveland and years of experience in boxing. In 1974, King negotiated to promote a heavyweight championship fight between Muhammad Ali and George Foreman in Zaire ('the Rumble in the Jungle').

This article I wrote almost 15 years ago illustrates what a frustrating time Clevland based soul singers had to endure. It deals with the career of the Soul Notes & Bill Spoon but it could apply to just about any local soul singer .......... ............. BILL SPOON ............ In 1997 a Channel 4 TV documentary dealing with the duties of the LA Coroners office was screened in the UK.One of the people who's day to day tasks were illustrated in this programme was a department member by the name of William Bell. Now for most people who saw the documentary this will prove to be their one & only insight into the life of William Bell. However northern / modern soul fans will already be acquainted with his work in the music business where he is better known under his recording / stage name of Bill Spoon. William Bell (Bill Spoon) was born on November 6th, 1942 in Jefferson County, Alabama. His interest in music began at an early stage under the tutelage of the late Alex Bradford. His home area must have been a hot bed for musical talent as Bill grew up in the company of numerous others who were later to forge successful recording careers. Bill attended High School with Frederick Knight, Barbara Joyce Lomas (later to become a founding member of BT Express) plus Richard & Jessie Fisher. In fact, for a short period, Bill and Richard sang in the same street corner group. He would get together to write songs with his neighbour, and long time friend, Roger Hatcher and he also participated in local talent shows with the likes of Eddie Kendncks &: David Ruffin. Bill was also a member of the Miles College Chorus where one of his fellows was Mitty Collier who would go on to enjoy success with Chess Records. In the early sixties Bills plans for a musical career seemed as if they would have to be put on hold as he was called up into the Army. However he soon turned the situation to his advantage, as he spent two years (1962/3) entertaining the troops in Korea as lead singer for an outfit known as the Soul Masters. He was relocated to Germany for a further period where he was lead singer for a group who went by the name of the Uniques. In 1965, at the end of his tour of duty, he returned to Alabama where he completed his education in Birmingham At the time, however, there were few opportunities in the area to make the inroads into the recording business that Bill aspired to. As a result of this he followed the example set by Eddie Kendricks and David Ruffin and moved north to relocate in Cleveland, Ohio. Other locals took the same road, Richard and Jessie Fisher also making the same move with Roger Hatcher following a few years later. On his arrival in Cleveland, Bill was reunited with Walter Ricky Dannison who he had got to know before going into the Army, this occurring in June 1965. Walter introduced him to Leroy Elie, with whom Ricky had sung while Bill was in the army. Riki, Leroy and Bill realised that they had the gist of a competitive singing unit, but were one voice short of a true blend. In August 1965, they met John Cornbread Berry and he became the fourth member of the as yet un-narned group. The group started to perform in night clubs but only on weekends as they all had full time day jobs. Walter did some form of quality control at the Cleveland Chrysler Auto Plant, Leroy was a commercial electrical and mechanical architect, while John was the floor manager at a metal photo processing plant. Bill himself was a criminal investigator for the State of Ohio. Soon after the line-up adopted the name the Soul Notes their collective efforts were recognised as in November 1965 they were signed to a recording contract by locally based Way Out Records. The group continued to gain experience and hone their performances and by 1967 Way Out were ready to let them record in their own right. Initially two tracks were laid down, “How Long Will It Last” and “Don't Make Me Beg” but Way Out were in the process of negotiating a national distribution deal with MGM and so the companies releases were delayed while this was completed Early in 1968 though the two tracks were released as a single, Way Out 1001. The group returned to the recording studio and a further two tracks were recorded, “I Got Everything I Need” and “I've Been Waiting For Your Love”. Way Out decided a second single was warranted on the group and so in 1969 they enjoyed another release, “I Got Everything I Need / How Long Will It Last” -- Way Out 1006. For some reason Way Out decided to leave Ive Been Waiting For Your Love on the shelf as they re-used one side of the groups first single. This decision undoubtedly robbed uptempo soul fans of a potential favourite as “I've Been Waiting For Your Love” had definite dance floor potential. The song had been driven by Bill along with group member Walter Riki Dannison and the Sensations Johnny Washington. Someone at Way Out must have thought the song had potential though as they got James Calloway to come up with an alternative set of lyrics.The revised version of the song was later (1971) to be recorded & released for the company by Jessie Fisher, the songs new title being “You're Not Loving A Beginner” -- Way Out 104. The Soul Notes cut a further 6 tracks in Way Outs studios in 1969 but unfortunately none of these gained a release. The songs laid down by the group were “Please, Baby Please” (a version of the Sensations track), “I Cant Wait Until The Weekend”, “Try It, You'll Like it”, “I'm On My Way”, “I'll Wait For You” and “Alone”. The groups treatment by Way Out was distressing its members and in 1969 John Berry quit the group. His place was taken by Avon Wells, but Avons stint with the Soul Notes was short lived as within a few months he moved on (becoming a member of the Imperial Wonders). Bill, Riki & Leroy continued on as a trio but in early 1970 a power struggle broke out at Way Out and the companies management became chaotic. In the confusion a number of projects got lost, a new Soul Notes release being amongst these. Bill is sure a few test pressings featuring tracks they had laid down in 1969 were made but none enjoyed an official release. Discouraged with their future the Soul Notes broke up. Bill Spoon decided a change was again called for and so he moved back down south, relocating to Memphis where he worked briefly with Frederick Knight. Bill soon returned to Cleveland though and later in 1970 he cut his first tracks as a solo artist. He cut five songs in all (“Gotta Go On”, “It's Hard Livin Alone”, etc.) and these were destined for release on Springboard Records. A few demo copies were pressed up but unfortunately the scheduled release failed to make it into the shops. Bill next acted as producer /arranger on a session for Walter Dannison, who now went by the recording name of Riki Sonda, but again a release failed to materialist. In the meantime Bill had formed a relationship with Bobby and Friendly Womack and so he moved out to California which was where they were based. Here he met Pete Peterson and Tom Wilson and in conjunction with them he landed a recording deal with Angel City Records who were to be distributed by Polydor. Bill cut 4 tracks for the label in 1972, 2 more in 73 and another 4 in 1974 however the untimely death of their executive producer, Tom Wilson meant the project ended. A number of the tracks were co-written / produced by Gene Dozier these marked the first occasion that Bill and Gene had collaborated in the recording studio. Four of these tracks were to find favour with UK soul fans in the late 80s when they were reissued on a Hense Forth 12". The tracks involved were “I Can Feel It” (from 1972), “She'll Be Lucky” (from 1973 — both of these being written / produced by Bill himself), “The One Who Really Loves You” and “I Bet You Cant Love Me One More Time” from 1974 (both being co-written & produced by Gene Dozier). Yet again Bill returned to Cleveland and here he organised a deal with Hot Ice Records. In 1976 he recorded 2 tracks for the company, a further two in 77 and five more in 78. One of the tracks that he recorded at this time was a song Bill had written with ex - Soul Note Riki Dannison, “I Got God On My Side”. Once again unfortunately nothing really resulted from the association. By 1980 Bill had thrown his lot in with Bob Davis who had earlier run the Day-Wood label. Gene Dozier, who at the time was working for Solar Records, was brought across to Cleveland to oversee the proposed recording session. At this session Bill laid down 2 tracks, “Love Is On The Way” & “Don't Play With My Love” and these were released on the newly instigated Highland label. Unfortunately the company didnt have the finances to properly promote and distribute the single and so commercial success eluded Bill yet again. The quality of the tracks was appreciated by UK fans though and the single became a much sought after item on this side of the pond.Eventually, to satisfy the pent-up demand, the record was also reissued on Henseforth in the late 80s. The problems the Highland release experienced finally convinced Bill that he wasnt going to establish a successful recording career in Cleveland and so in the early 80s he returned to Los Angeles. Over a period of several years he collaborated on projects with the likes of Friendly Womack, Leon Haywood, Lou Ragland and Gene Dozier. By the end of the eighties he was ready to give a solo career a try again. He linked up with Hense Powell and a number of tracks were laid down. The result of this work saw the light of day in 1990 when the Henseforth LP 'Talk To Me' was released This 8 track strong album immediately found a receptive audience in the UK but unfortunately making the US record buying public aware of its existence and quality was to prove a more difficult task. A number of songs on the allbum help illustrate the enduring musical associations that Bill had developed over his long career as they were co-written with old allies. One of the LPs most popular tracks, “Kick Back” was composed in conjunction with Lou Ragland whilst Riki Dannison assisted with “Look At Yourself”. Further Henseforth recordings escaped in 1995 when the single “I Rode The Crest Of The Wave / No Way To Live” was released but again it failed to find a wide audience. Bill isn't a person whos easily discouraged though and he continued to work on new material. He re-recorded “I Got God on My Side” along with a number of other songs. Bill's duties with the L.A Coroners Office were becoming too arduous on a day to day basis and so he was determined to make another effort in the recording field. He had plans to release a new C D but again this project failed to materialise. More recently Bill got to retire and so quit LA to be nearer to famoily members. He certainly deserved to get more recognition for the fine work he had undetaken in the recording studio down the years, he never really received the plaudits long due to him.

Edwin back in Cleveland (ahead of him signing with RicTic) ...

Some good East Yorkshire sleeves there ........... I used to be a regular in Hull for a few years from the middle to the end of the 60's. Bought quite a few bits at Sydney Scarborough's + a few more places in the city centre & on Holderness Rd. The 2nd hand shops up Beverley Rd were also good for UK & Euro soul 45's (the Uni was up that way & skint students used to sell their 45's to buy food at the end of term + with Hull docks being a thriving port back the,n records came in on the boats from Germany & the like). The Skyline Ballroom (top floor of the Co-op Dept Store) had good acts on (UK & US soul outfits) until it was transformed into a night club (when the likes of the Flirtations & Fantastics would be on with all the usual pop acts). Also had 3/4 decent clubs; Discotheque on Whitefairgate (they had the odd soul niter there), the Gondola, Intercon (in the 70's) and a place next to the river in Witham (can't recall the name of it though). My mate, Steve Mercer DJ'ed at the last two clubs. There was a good club in Grimsby that I seem to recall was mentioned on a SS thread a while back. Spent much of summer 66 in there. They also had a decent soul club in Goole & in Brid (the Jungle -- down on the harbour) back around 1967 .... ... & a couple of decent ones in Scarboro (in the 70's).

Heard back from my Cleveland contacts & it seems that a deal on the Way Out stuff is still possible (people still around who hold the rights). All it needs now is someone who wants to license the tracks and a fair portion of luck ........... The master tapes for the unissued stuff has to be 'found' in the studio vaults and have still to be in 'salvageable condition'. I now that when Ady was there, the guys at the studio were in 'very lazy mood' & not willing to look for much of anything in the tape vaults.

Ady, I have sent you a pm message.

Losing their lead singer finished off many a group, but when Johnny Moore jumped ship to join the Drifters, the Hornets soldiered on. The group's new leader was Ben Iverson and they stuck with the plot through to the early 60's when the group landed a record deal with Way Out. Eventually they gave up due to changing music styles but Ben Iverson still wasn't finished. He relocated to New York and continued his music career as both a solo artist and as a group lead singer. He helped form the group Ben Iverson & Nue Dey Express who had a 45 out on Britne. The group then landed a deal with RCA and had the track "(You Can't Bend My) Super Rod" out that featured Ben on lead vocals (on the voc side of that single). The group teamed up with new producers & for whatever reason (conflict between those producers & Ben who saw himself very much as the group leader or the producers not liking his old style vocal delivery) Ben was ousted from the group. Their producers & RCA re-named them; Crown Heights Affair) & they went on to have worldwide hits.

Some mid 1950's shows in Cleveland. Groups featured include the El Dorados, the Metrotones, the Hornets and others. The Hornets were another local outfit that recorded. In 1953 they were doing well, their lead singer being Johnny Moore. The Drifters came thru Cleveland for a show, spotted Johnny and recruited him to join their group. So he packed a bag & went on the road as a Drifter. He had a solo spell after his run in the military (as Johnny Darrow) and then went back to the Drifters when a vacancy occurred, It was Johnny who led the Drifters when they relocated to the UK in the 70's.

Like every big US city, Cleveland had its own TV version of 'American Bandstand'. Cleveland's equivalent went out weekly on ABC from 1964 to 1971, it was called UPBEAT. Loads of top acts got to appear on the show including some local soul acts. The O'Jays were on, as was Sonny Turner with the 60's Platters. Otis Redding was on in December 1967, he sang solo ("Respect" backed up by the Barkays) & then did a duet with Mitch Ryder ("Knock On Wood"). He was in the city to do the show & play a gig at Leo's Casino. After the show, he touched base with Kim Tolliver who was back home after being a member of Otis' touring review. After that he headed to the airport & his private plane to get to his next engagement. The plane crashed en-route & Otis + some of the Barkays were killed.