Roburt

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.

Wasn't Magnificent Montague connected with the MAM label (part or full owner) ??

Getting a bit 'off topic' now .......... but Pete Stringfellow (Mojo supremo) managed a few locally based groups. He had a strong liking for US soul singers; Edwin Starr would sleep on the floor in Pete's mother's house in Sheffield after allnighter gigs at the Mojo. Later, Pete would manage the Fabulous Temptations / Fantastics when they decided to settle in the UK (no doubt that's one of the reasons why Richie Pitts has always lived in Sheffield & another member in the Leeds area). BUT Pete also managed an earlier outfit ....... Sheffield beat group the Sheffields. This group had grown out of the Vampires and went on to become Frankenstein & The Monsters (a Screaming Lord Sutch copycat group). R&B playing group the Vampires had backed Little Walter and Memphis Slim on their 1964 British tours. The Sheffields also backed up Ray Stuart at one time (Ray Stuart aka 'Frankenstein of F & the Monsters). Another one of 'the Monsters' was Royce Francis who had been in the Upsetters who had played gigs across Europe with Pete Lancaster. The Sheffields' recordings are (I believe --- no doubt Pete S will know lots more about their 45's) well respected with 'beat group' fans. Pete Lancaster + the Upsetters were also into soul .......

The 'initial' last allniter (April 67) @ the Mojo ..... TEXT ..... And so it came to pass, the great and famous King Mojo All-Nighters had to stop! A wailing and crying as never heard before over took Britain's Mod Populous And at the last one, Saturday XV April MCMLXVII multitudes of all creeds gathered (except the dreaded greasers) and paid homage. And from in their midst came the great Prophet: ... Geno Washington & His Ram Jam Followers

A similar project -- the Rojac 45's box set (8 x 45's + record box) sells for £40 (Juno). So I'd guess that makes the Arctic Package overpriced in comparison. Mind you, it's (Rojac box) supposed to retail for £69, so that would work out at about the same price equivalent (about £9 per 45)

YEP, that's right !!! Expensive but it is a comprehensive package ( big booklet, 3 x CD's & 6 x 45's).

Due out (in the US) this week ... but may again have a day or two's delay ... ....... hope it makes it before Xmas to catch the 'pressie market'.

Rene Pryor -- A 1979 outing on Spring in the US (arranged by Tony Camillo) .... ...... although it's very 'disco-y' it did get a few MS DJ plays back in the 80's.

A similar outing from Wesley .......... (quite like both mesen, though "Better Days Are Coming" is even better).

Local students painted Murials on the wall at the club. Regular changes were made to help keep the club looking 'in fashion' ........ ... a guy captured the then fascination with US gangsters (the Untouchables TV show) & Bluebeat in this mural ......

A Mojo montage ..................

An 'outside' Mojo show after the club was closed .............

...... EXTRACT from the book ‘Dirty Stop Out’s Guide To 1960s Sheffield ......... ........... The event the Black Cat Club will always be remembered for will be a sell-out show by The Beatles that ended up being moved to a bigger venue in Gleadless due to unprecedented ticket demand and near riots. Geoff and Peter Stringfellow’s next outing was their Blue Moon Club regular Sunday night sessions. They took place in an old church school turned warehouse on Johnson Street. It opened in May 1963. The brothers were soon earning a reputation for their uncanny ability to book bands just as they hit the big time. They didn’t do it better than The Kinks who performed at the Blue Moon Club on September 20, 1964, just as they were riding high in the charts with ‘You Really Got Me’. Dave Manvell: “The club will always be remembered for the famous collapsing floor incident when Peter couldn’t understand why all the small people were stood in the middle of the club!” The brothers also promoted shows at Sheffield City Hall and were managing acts like The Sheffields. The club they were undoubtedly most famous for was King Mojo which opened in the former Dey’s Ballroom which then sat on the junction of Burngreave Road and Barnsley Road in Pitsmoor. The brothers rented it for £30 a week from local businessman Ruben Wallis who gave them his blessing with one stipulation — they kept the pictures of the Queen and the Duke of Edinburgh hanging on the wall. The venue made waves immediately and they’d got over 800 members within eight weeks of opening who couldn’t wait to sample King Mojo’s (it originally opened as the Mojo) alcohol-free environment. Though it was a massive hit it totally divided opinion — you were either into the Stringfellow scheme of things or you weren’t. Fashion, as far as King Mojo was concerned, was as important as the music. Peter Stringfellow said at the time:“Eventually, I’d like to open every night if there’s the demand. On Saturday night we can draw a crowd of 600 — and if we were allowed we could have more than 1,000 for Long John Baldry. We aim to bring all the top class R&B stars to Sheffield. I think the kids are willing to pay for them.” By the end of April 1964 — two month into the life of King Mojo — the brothers were running all three clubs and Peter Stringfellow was also being tipped as a possible Radio Luxembourg DJ. Whilst Terry Thornton sometimes seemed one step removed from the media, Peter Stringfellow courted the media from the early days and was never out of the press. As the music scene diversified to include London’s thriving R&B movement and then soul in the latter part of the era, the Mojo truly found its calling and started landing gigs by bands that were set to spawn global stars that are still as big today. They included six visits by John Mayall alongside the likes of Eric Clapton and Peter Green; Graham Bond Organisation (with Jack Bruce, Ginger Baker, Dick Heckstall-Smith and Diane Stewart) and probably the first ‘supergroup’ of the era Steam Packet (with Long John Baldry, Brian Auger, Vic Briggs, Richard Brown, Julie Driscoll, Mick Fleetwood, Peter Green, Mickey Waller and Rod Stewart). The list of artists that graced the King Mojo stage in Pitsmoor is formidable by anyone’s standards. They also included: The Yardbirds, Manfred Mann, Isley Brothers, The Who, John Lee Hooker, The Hollies, Wilson Pickett, The Drifters, Jimi Hendrix, Ike and Tina Turner, Edwin Starr, Geno Washington, The Troggs, The Animals, The Spencer Davis Group, the Small Faces, Stevie Wonder, Pink Floyd and scores more. As styles changed so did the interior design of the club with management always looking at ways to lead the scene and keep one step ahead of the Esquire. The club regularly developed fashions all of its own. A fashion with the girls at the club in 1966 was to wear 'lookalikes' to the chiffon dresses that US girl groups were wearing back then. But money was tight, so they bought short chiffon like nighties & wore those. As they were see-through the wife's mother lined hers before she was allowed 'out' in it. Stringers used to encourage the best looking young ladies in the club to dance on one of the barrels placed by the stage. Us lads used to pay close attention when a lass in a nightie was dancing up on a barrel (purely to ensure they were good dancers !!!). ............. Good times !!!! see piccy of 2 ladies by the barrels in the club ......

........ MISSED THIS EVENT HELD LAST YEAR .......... coz I'm darnsouv now I guess & didn't know bout it .... Nightclub Impresario Peter Stringfellow, Singing Star Dave Berry And Guitar Legend Frank White Are All Set To Take To The Stage To Mark The Launch Of A New Book, Neil Anderson’s ‘Dirty Stop Out’s Guide To 1960s Sheffield’. The Event, Which Is Held On Wednesday, November 23, 2011 is Set To Re-Create Peter Stringfellow’s Iconic King Mojo Club That Ran In The City From 1964 To 1967. Playing Centre-Stage Will Be Frank White’s Son, Joel, And His Band The Esquire. Star Guests Are Set To Include Frank White And Dave Berry. There’ll Be Joined By Stevlor & The Spinning Orphans Playing Full King Mojo DJ Sets, A Question And Answer Session With Peter Stringfellow, The Return Of The Leadmill’s Popular ‘Beat Club’, And Stage Dressed By The City’s Own Okeh Cafe. Former King Mojo-Goer Dave Manvell, Who Has Co-Written Some Of ‘Dirty Stop Out’s Guide To 1960s Sheffield’ As Well As The ‘Memories Of Sheffield’s King Mojo Club’ Book That Was Published In 2003, Is Working On The Event’s Organisation And Re-Creating The Famous King Mojo Sign. Compare For The Night Will Be Author/Musician John Firminger. Neil Anderson Said: “To Get Such An Iconic Line-Up On The Same Stage For One Night Is Truly Fantastic — It’s Going To Be A Great Night. So Many People Have Put So Much Time And Effort Into Making This Night Happen And It’s Shaping Up Better Than Any Of Us Could Ever Have Imagined.” All Profits From The Launch Night Will Go To The ‘Sheffield Blitz Memorial Fund’. Tickets For The King Mojo Are £10 In Advance And Available From The Leadmill Box Office, Sheffield Arena, Sheffield City Hall, Okeh Cafe And Other Outlets. Credit Card Bookings: 0114 221 2828. The Events Starts At 8pm. The book that was launched (available from Amazon) -- ‘Dirty Stop Out’s Guide To 1960s Sheffield’ -- looks interesting for the likes of me that was around back then. Just ordered a copy.

For anyone interested in reading a bit more bout Sheffield's King Mojo club ........... https://www.burngreav...king-mojo-club/ The 'local' black group who are pictured in the above (the Pitiful Souls) were the outfit who cut a track at the Mojo ("Never Like This Before") that went on the Sheffield Rag EP I made mention of earlier.

Ian, the Lee Dorsey (very big when I started on the UK scene) & the SJQ CD's look really nice and will have to find their way to my house (even though I'm still banned from buying any more recids/ CDs by er'indoors). If you don't mind me asking; were sales of the gospel CD set large enough to prompt a follow-up release ??

I believe the big New York launch party (for the box CD / 45's set was yesterday .......... I know lots of the old artists were being bused up from Philly to attend ........... ..........& Kenny Hamber was driving down from New England to be there ...... anyone on here attend or heard how it went (they were after publicity to help launch sales of the set).

...... RE: BUT the organisers want the money in early...so it does have to be paid up NOW ........ .... GUESS the consultant's running the event want their money up front

It's all relative. Don't forget that all the 'city banking' types are still getting awarded 6 figure sums as Xmas bonuses (even though they bankrupted the country only 4 years back). .... AND ... what time of the year is it ...... almost Xmas ..... so those 'hard working' *ankers will all have loads of money burning holes in their pockets in the next 2 weeks. I'd guess that guys like Paul T (full name withheld to protect the innocent) will be spending his usual £thousands at Manships over the 'bonus period'.

Finding it difficult to get hold of copies of records played by competing sound systems, he began recording his own at Federal Studios. His first 45 rpm singles came out in 1958, with some Jamaican R&B and early ska tunes made only for his own sound system. Pete, it ain't too obvious, you have to read between the lines a bit. But, 45's made for other sound systems were only for their use (so obviously pressed up in limited quantities) ..... so he started cutting his own 45's, again made (in limited quantities) only for his own sound system. ....... OR .... am I reading too much into the bit about .... made only for their own sound systems