Roburt

Doc Bagby was around on the US music scene for many many years. He even backed up Tommy Hunt, the Shirelles, Linda Hopkins & Kenny Hamber on a show at a Brooklyn Theatre in the early 60's. When not on tour, he seemed to bounce between Philly & New York.

CHEERS

Patti La Belle & the Bluebelles had a 45 out on Atlantic in 1965; “All Or Nothing” (written by Pam Sawyer & Lori Burton). The cut was picked (& played over & over) as a 'climber' by pirate station Radio London DJ's back in November 1965. It was most probably the reception / airplay that this 45 enjoyed that got the group invited to tour the UK in 1966. Vicki Wickham got to see them perform in a small club in Kensington, London and was blown away by their renditions of classic ballads like “Over the Rainbow” and “Danny Boy”, she had never heard music like this before and the group's performance really touched her. Vicki had worked as a secretary at Rediffusion TV and after asking to be involved with Ready, Steady, Go she quickly became the heart of the show with her music choices and ideas. She wanted RSG to be in tune with the music, fashion and lifestyle of the mod generation. It launched the careers of the likes of the Rolling Stones, The Who, Jimi Hendrix, Marc Bolan, Dusty Springfield, Donovan and Cream. It was groundbreaking in the way it introduced the UK to soul singers like Otis Redding, Marvin Gaye, Ike & Tina Turner, James Brown and Wilson Pickett. Many of the artists were appearing on national television for the 1st time. Vicki also produced The Sound of Motown TV Special, hosted by Dusty Springfield (the Supremes, ‘little’ Stevie Wonder, The Temptations, Martha & The Vandellas, Smokey Robinson & The Miracles). During the run of the show, Vicki had become great mates with Dusty Springfield and it was Dusty who introduced Vicki to the sounds of American R’n’B music. They would spend every Saturday at Dave Godin’s Soul City record shop, near Cambridge Circus, buying up all the new releases on Motown, Scepter, Stax and Atlantic (45's by Big Maybelle, Bessie Banks, Etta James, Sugar Pie DeSanto & Lorraine Ellison. Vicki says that hearing this music had a great influence on the artists she chose to appear on RSG. Dionne Warwick, PP Arnold & Madeline Bell all made their first television appearances in the UK on RSG. After RSG finished, Vicki became MD for UK record label Toast. She also produced the Sunday night concerts for Brian Epstein at the Saville Theatre, London (artists including the Four Tops, Jimi Hendrix, Vanilla Fudge, Fats Domino,Garnett Mimms plus Gladys Knight & The Pips). At the end of the 60s she worked for a short time for EMI before moving to New York to run the New York office of Track Records. Wickham said of those times: "When Patti first asked me to manage them I was reluctant. The name Patti LaBelle and the BlueBelles sounded so old. I told her that if we're going to do this, it's a new day. You've been together sixteen years, you are so out of it that you can't even get arrested. You can't wear those nice little frilly frocks and wigs, we've got to rethink it. You've got to make a statement, you're women, there's a lot to be said.'" Wickham threw out the group's old name and recrafted "the girl group" into LaBelle, a provocative trio, wearing space age, daring clothes and tackling adult subjects such as prostitution, which had been off-limits to pop music before that.

Patti La Belle always liked Brits & this showed throughout her career. Patti & the Bluebelles toured the UK in the mid 60's. On their gigs they were backed up by Bluesology who featured Elton John among their number. Patti & Elton struck up a close friendship that lasted for many years (when he was due to play his 1st big Philly solo concert in the 70's, he rang her to invite her along to the show. Not realising her old mate Dwight had evolved into Elton John, she asked him who he was playing piano for on the show). The Bluebelles were much feted in the UK in 1966, their record label staging a reception for them that the likes of Mick Jagger, Keith Richards & Tony Hall attended. The group obviously met Vicki Wickham (of RSG) at the time as she was to become their manager by 1970. It was Vicki Wickham that convinced the remaining trio (Cindy Birdsong having left to join the Supremes) to change their image at the very end of the 60's, the 'new' outfit being renamed LaBelle. Vicki arranged for the group to sign a record deal with Track Records' Kit Lambert & Chris Stamp. The group were due to have a release in 1970 on Track's then proposed new label Fly (was this the label that went on to release stuff by the likes of Joe Cocker, Procol Harum, etc. The labels obviously had links coz after Track issued their Backtrack series of LP's, Fly put out some LP's badged up as Flyback). Anyway, a release on Track at that time didn't materialise; the group cut an album at Record Plant in New York with Kit Lambert & Vicki Wickham acting as producers and this LP was released on Warner Bros in 1971 (WS 1943). However, they had cut at least one earlier track for Lambert, Stamp & Track Records. This was their version of the old song "Miss Otis Regrets". This cut was recorded in London in 1970 with a full orchestra when the group first got together with Kit Lambert and Chris Stamp. The cut eventually escaped in the UK as a Track 45 in 1976 (# 2094 131) and became so well respected in music circles that it was recently included as a 'bonus cut' on a CD of new material released on LaBelle. Anyone got the Track 45; if so can they post up a label scan ??

Sadly just passed away .............. ...... https://www.sirshambling.com/artists_2012/R/lionel_robinson/index.php

Of course, Googie would also have known Kell Osbourne well. Kell recording for Class & New Bag in 1962/63/64/66. The likes of Bobby Day (also signed to Class) sang on Kell's tracks and I'd guess that Googie himself played on a couple. Another 'New Bag' artist was Count Yates (aka Sammy Hagan / Sammy Yates) who had been around the recording scene since the mid 50's (using this name since the early 60's). Sammy Hagan / Count Yates was certainly a 'stayer'. He was still singing at the end of the 1990's !!. Count Yates being a member of the 11 strong 'Blowin Smoke Rhythm & Blues Band'. The L.A. based band was led by singer/bassist Larry "Fuzzy" Knight (originally from St Louis). Also in the group was ex Ikette Carolyn Basley (RIP). ....... in passing ....... Larry "Fuzzy" Knight is the guy who cut for Golden World (as Larry Knight & the Upsetters). The picture below shows some members of the Blowin' Smoke R&B Band with Count Yates being the guy on the far left. Was the Starborn 45 the only release on New Bag in the 70's ?

BTW, Googie's son; Chris Rene, did well (I'm led to believe) on last years's (US) X Factor. https://www.youtube.com/watch?v=SdsSY-SfX1k

..... Starborn from 1973 ..... is much known about the group ?....... .. & a review for his last (?) 45 outing at the end of 1974 (strangely slotted in as a' First Time Around' entry) ..........

As there is currently a thread extolling the virtues of instrumentals, thought I'd put up a thread about Googie Rene. Most well known on the scene for his big mod outing "Smokey Joe's La La" from the mid 60's, Googie was involved in the music biz from an early age. His father was Leon Rene who was writing hit songs by 1940. Leon (& his brother Otis) set up Exclusive & Excelsior Records in the 1940's. By the 1950's, it was the turn of his Class Record label and Googie (Rafael Rene) was soon recording for the inking (1956). Googie was recording by 1956 and was enjoying sales success before the end of the decade. Other guys that Googie got to meet through his father & Class Records were the likes of Bobby Day (the 1st Bob in 'Bob & Earl' + Barry White who's 1st experience of a recording session was on a Class track). Down the years, Googie had releases on Class, Kapp & New Bag + the resurrection of his 1st label in the 1970's as 'Class of 74' Records. As well as being involved with outfits such as R.A.I.D. & Googies Junk Band, he worked with the likes of Starborn in 1973. His father passed away in 1982 and by then Googie had moved on with his career. Googie himself left this world on November 25th 2007 .......... a bit about him ........... He may be gone, but he's not forgotten ..... ,

Well I snagged a copy. CHEERS.

RE:..... PART 2 plays ............ Moses - Got my mind together (Piedmont) Spaceark - Do what you can do (color world) Crystal Motion - You're my main squeeze (Sound Gems) Lady Margo - Simply got to make it (Cynthia) Calif. Malibus - Love in my life (M&M) Earl Connerly - Make up your mind (Maycon) Wonder if anyone's fetching out a book real soon that will deal with the activities of Omega Sound Inc. of Philadelphia ??

OF COURSE ........ it's a cover of the Solomon Burke biggie (a 100 Club classic from way back).

Info on Gwen's tracks from when she had a later hit .........

But did Jack Ashford just take the original 8 / 16 / 32 track master-tape & just 'add bits' (the sax) and then re-balance the prominence of what was on the other tracks on the tape to end up with the revised version.

Robb, Those 1972 Gwen Owens tracks were cut at Muscle Shoals Sound Studio for Clayton Ivey and Terry Woodford (Motown South). Two eventually came out on Casablanca ("You Better Watch Out", etc) with two of the others (with Gwen's vocals removed) escaping as instros on the 'Motown Magic Disco Machine' LPs (at least so I believe), so that only 1 track has completely remained in the vaults.

Ady, I know Pesky Gee were a soul group (saw them @ the Nite Owl) which is why I said 'not too many soul groups' on at the Broken Wheel. .... & ... the Broken Wheel did play 'Old Soul' and then become an early NS club (at least as I understand matters). I believe that when I saw Pesky Gee, they were an all male group backing up visiting US soul singers .... Diane Ferraz (aka Linda Lewis) led Ferris Wheel (she looked well fit to this 17 year old soulie back in 67). Anyway, I'm an OLD SOUL that's always loved 'Old Soul' and never really cottoned onto what NS was, so I'm excused. Cuts I've never understood are 'Northern' tracks (i.e. out & out pop stuff played on the scene).

I don't think I'm fully getting what you're saying Bob !! How many different groups are there ??

Just digital (as far as I know). But as many of the tracks are a 'lot obscure', I'd guess that physical CD's wouldn't make economic sense. My grandson asked for a computer game for Xmas ......... bought it from Amazon (even though the blighters pay less tax than me) .... .... and received some credit to buy digital music as a bonus ............ Know which tracks I'll be using my 'credit' to purchase !!!

Posted about an upcoming Motown Jazz download the other day ............. .......... but after a posting on SDF ............. I checked out other upcoming releases .... & WOW ...... https://www.amazon.co.uk/Motown-Unreleased-1962-Girls/dp/B00AJYJ4CM/ref=sr_1_6?ie=UTF8&qid=1355168059&sr=8-6 https://www.amazon.co.uk/Motown-Unreleased-1962-Guys-Vol/dp/B00AJYKACU/ref=sr_1_5?ie=UTF8&qid=1355168059&sr=8-5 https://www.amazon.co.uk/Motown-Unreleased-1962-Guys-Vol/dp/B00AJQZN5W/ref=sr_1_2?ie=UTF8&qid=1355168059&sr=8-2 https://www.amazon.co.uk/Motown-Unreleased-1962-Gospel/dp/B00AJR085G/ref=sr_1_3?ie=UTF8&qid=1355168059&sr=8-3

But if the instructions from the record company to their label printers were written in 'doctor's scrawl' & the guy at the printer's wasn't into music, it could easily have happened. Chinese whispers & all that.

I have no idea how foreign to UK record label admin guy discussions were undertaken ......... ... but for show ads, time was so tight that usually just a phone call took place. Thus we have 100's of drastic spelling mistakes / name errors on such ads. After Kim Tolliver joined Otis Redding's tour package, she was advertised as Kim Tarver for some weeks (I guess neither she or Otis actually got to see the newspaper ads involved for a while). No doubt similar mistakes were made on theatre posters / nameboards.

Were all EMI 45's (in the 60's) released in strict numerical order ?? (number always = date of release order). I'm sure sometimes a release number would be allocated & then a 45's issue date moved forward or moved back. This would have happened with some US artist's releases if say, a tour was planned & then delayed or postponed (or if EMI suddenly realised a tour was upcoming). ... OR .... a 45 from say Bell was scheduled as 'just another release from that label' and then it went big in the US, so its UK issue date was moved & the 45 properly promoted. Of course (as already stated), if a 45 was re-promoted, new copies (on the later label design) would be pressed up and sent out.

Wasn't Bill Downs (of New York; Ad Libs & Chris Bartley's manager) the link between the Canadian & UK Right On labels ?? He was a long term friend of Dave Godin's (I think Bill Downs was also gay) and licensed some tracks to DG. I believe the Canadian Right On labels cuts were also sourced via Downs. Of course, I may be well off the mark here, but that was always my understanding. Bill Downs also licensed the old Chris Bartley tracks (Baby, I'm For Real / I Found A Goodie / Truer Words Were Never Spoken / The Sweetest Thing This Side Of Heaven) to Move Records (of Edinburgh) in the mid 80's.

......... "Love Is Only Everything" live .........

Didn't go to the Broken Wheel and didn't realise that it was already up & running as early as 1968. ............. LIVE ACTS at the club in 1968 ............ MAY 68 -- Retford, Broken Wheel - Pineapple Accident (11th), Alan Bown (19th) June 68 -- Retford, Broken Wheel - Pesky Gee (8th), Breakthru (22nd), Jo Jo Gunne (29th) October 68 -- Retford, Broken Wheel - Pesky Gee (19th), The Hush (26th) November 68 -- Retford, Broken Wheel Scene - The Symbols (30th) Not too many soul groups among the above; when did the place go 'soul' (Alan Bown had gone all 'Toyland' about a year before they played the club) ?? By all accounts, local poet Max Blagg was a regular at the Broken Wheel in 68; he ended up in the US and got quite famous.