Roburt

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.

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'.