Roburt

This 45 was quite a big US hit making both the national soul & pop charts (though only in lowely positions). With it selling to both black & white fans, I guess it had a few different pressings even back in 1966 & 1967 (it sold in both years).

An extract from my piece ............... Shiptown releases are extremely hard to track down because most had very limited pressing runs (sometimes 200 or less) and the majority of copies never made it any further than the shelves of Noah Biggs' Nimrod Record Store. Here, the staff would push each release & with plays on local radio shows, most would be sold to locals or servicemen based in the Norfolk area. Noah really only pressed up enough copies of each 45 to generate interest from a larger label (in either signing his artist or in using the actual song on one of their acts). After Noah found ‘Little” Ida Randall, Norman Johnson took her up to Cameo Parkway’s studio in Philadelphia to cut his song “Lets Get Married” (sometime around late 1964). Noah decided to release the song on his own record label, under the name of Ida Sands. With Norfolk’s strong maritime connections, he named his new label Shiptown Records. In summer 1965, Little Ida (Ida Sands) & Little Daddy (Joe Webster of the Anglos) were teamed up in Virtue Recording studio (1618 N. Broad Street, Philadelphia) to record under the supervision of Jerry Williams. Shiptown’s connections with Philadelphia were to be continued, the strings on some of their later cuts being handled there by the likes of Leon Huff. The 1st 45 on Shiptown to make any waves was Ida Sands "Rescue Me"; this being licensed to Chief Records in New York. Other 45's came thick & fast; the Idets "Look My Way / Doggie In The Window" also in 1967, plus the Anglos "Since You've Been Gone / Small Town Boy" (again in 1967) which were picked up by Scepter for national distribution. Flip Flop Stevens "Let's Do That Thing Part 1 / Part 2" followed in 68 with the Soul Duo's (Ida & Joe Webster) "This Is Your Day / Are You Lonely For Me Baby" following in 69 (this was licensed by Jubilee Records & released in mid 69 as Josie #1007). The same pairing's "Can't Nobody Love Me / Just A Sad Xmas" came out a little later. Noah started a second label in 1969, the How Big label being named after his son Howard Biggs. The first 45 release on his new label featured Ida Sands (Noah’s wife and Howard’s mother) on “Start All Over Again”. Another How Big 45 was "Too Many Skeletons in my cupboard" by Nat Fross (How Big 202936). Noah realized that, with Shiptown 45’s limited pressing runs, he had to get some exposure for his releases to stand any chance of them making any impact. So he cultivated radio DJ’s on black stations within easy reach of Norfolk. Thus, not only would he make certain that copies of his label’s 45’s were sent to these guys, but he would ensure his artists dropped in on them to plug their wares.

Frankie Karl was originally from LA where he sang in gospel choirs with the likes of Gloria Jones & Billy Preston. He joined the US airforce & it was in that period that he helped form the Chevrons. I believe that the F.K. & Chevrons tracks were cut in Philly under the direction of Dave Chackler who went on to be a big promotions guy for Mercury / Smash Records (he was credited with breaking Jay & the Techniques "Apple, Peaches, Pumpkin Pie"). After he left the airforce, Frankie returned to LA and there hooked up with (U)gene Dozier. Gene cut him in LA on a song titled "Don't Be Afraid" but then Gene relocated to DC. He released the track on a DC 45 & it hit big -- the 45 being picked up for national distribution by Bell. Gene had failed to sign Frankie to a contract & so with a hit on his hands, he signed with the label that offered him the most money (Liberty) and never had another hit !!.

I don't have a full discography but I have a piece I wrote (back in 2010) for the Barbara Stant CD notes and will pass it along to Chalky to put up in articles.

Certainly loads of the 'unsold-stock' US LP's that were everywhere in the UK in the 70's had come over as ship's ballast .... which was why high street record shops could sell them for 29p and upwards.

Info on tracks that Cav's member Keith Illidge (Keith Loving) played on after he quit the group (loads of top MS tracks involved) .... He obviously teamed up with Ashford & Simpson for most of the 70's AND even worked with the Softones in 1978 ...... https://www.discogs.c...1&t=Credits_All

The RCA group .......... info from Kent CD ..... The Cavaliers had these two different phases to their RCA career, starting off with self- penned Detroit dancers like 'Hold On To My Baby' and the unreleased 'Without Someone To Tell Me' on the initial four song session. They then recorded Banks and Kelley's 'Ooh It Hurts Me' along with their own 'It's Guaranteed' on a shorter second appointment. On their final session they cut two ballads originally written for Kenny Carter 'I've Gotta Find Her' and 'Living In The Land Of Heartache' along with Larry's own Kapp single track 'Muddy Water'. By then Joe Hunter had been replaced by New York veteran producer Teacho Wiltshire, and Larry and Teacho finally got credited as producers with Paul Robinson being "moved upstairs" to executive producer. The original 'Hold On To My Baby' session had BOBBY CROFT as the main lead singer on three of the four tracks while JOHNNIE WILLIAMS sang lead on the other. JEROME AVERETTE and KEITH ILLIDGE were the other members. By the second session WILLARD 'Jiggs' FRANKLIN JUNIOR had joined the group and by the final New York produced Bobby Croft had left, leaving Johnnie Williams to take all four solos. Keith Illidge, now known as Keith Loving, from his mother's maiden name, remembers the group singing the vocals over the musical tracks, which is surprising when only three hours studio time was allocated to producing four songs. He was the only instrument player in the group and would demonstrate the music for the other guys to work out the harmonies. Johnnie and Jerome originally came from Birmingham, Alabama, before making it to Detroit to seek their musical fame, while Keith, Bobby and Willard (aka Jigs) were motor city natives. 'Dance Little Girl' was mainly written by Keith about his daughter's mother, while 'Hold On To My Baby' was written at the very last minute mainly by Bobby Croft. The five-some were looked on as a second Temptations in Detroit, particularly as Jigs was Melvin Franklin's brother, Johnnie was Paul Williams brother and Jerome was a cousin of Eddie Kendricks. Keith remembers playing the 20 Grand club with James Jammerson in the house band. After RCA Jigs got drafted and the rest of the group moved to New York to try their luck. They backed David Ruffin for a while as The Fellas, though Bobbie had left by then. The rest of the group drifted back to Detroit but Keith stayed. Working as a studio guitarist he enjoyed much success touring with Harry Belafonte, even getting to perform in front of the Queen for her jubilee celebrations in 1977. He also worked extensively with the dancer and singer Gregory Hines and has been on countless hit studio sessions including Roberta Flack's "Feel Like Making Love", Donny Hathaway's "Extensions Of A Man" and even a live Barry Manilow album. Keith continues to record and is working on his own jazz CD with many illustrious musicians turning out on it for him. Sadly his cousin Bobby Croft passed away a couple of years ago and he has lost touch with the rest of the group. The Dynamics were another Detroit group who followed the same Detroit / NYC path that the Cavaliers did. Oddly though their first Joe Hunter produced session, which was of Detroit penned songs, included their recording of 'I Need Your Love', which was written by the Cavaliers though Keith can't remember the group or the song!

Another piccy of 'the Cavaliers' ...........

I've got "Peace & Free" on a Streethype advance 12" ("Keepin' the vibe alive") +" Friends" Secret Diary and rate both of them. Also like some stuff on Boogie Back Records (Promise, Lalomie Washburn, etc), Base Line (Ocean), Soultown (Mary Rose, Maxeen) & Heaven Sent (De Luxe) PLUS stuff like Chris Glenn's "I Can't Help It" which seems to have been popular in Japan and just about everything from Ola (Onabule) -- "Trust Is All" and "Every Kinda People" (the later only being put out on 12" in France -- by WEA. Another few tracks I've always liked ...... Nat Augustin -- Obsession https://www.youtube.com/watch?v=DOl-ncpuJnQ Robyn Lynn -- Love So Good (Radio Edit ) ... think this is a diff mix .... D-Breez -- Touch Julianne -- I've Been There

New Jack Swing was big at the Southport Weekenders for a couple of years ..... ... and loads of white punters were dancing to it there.

The film gets a UK release in a couple of weeks time.

Lots of Street Soul 12"ers on indie UK labels that were only sold 'out the back of a van' in the London area feature great tracks. Many have been played down the years on the MS scene & some are quite rare if they have been 'discovered' by the soul masses a few years after their release. What copies were pressed up back in the day instantly went into 'upfront' club / pirate radio DJ collections with the rest going into collections of those who went to clubs where the tracks were played. So if they 'break' on the NS / MS scene, there aren't many copies to meet that belated demand. Not sure the numbers that most of those 12"ers were pressed up in but it must have been in the 500 or 1000 copies region.

There was a Q & A session with a live artist (sometimes more than one) at every Prestatyn Weekender (both the March & October events). They went out live on Channel 6 (weekender radio), usually around Saturday teatime.

Back in the day, guys in groups who had local / national hits even kept their day jobs coz they had families (like Eula who's husband has been fighting cancer for some time). If you had a family, the odd tour + local gigs were too haphazard to fund their normal lifestyle. Guys have even quit hit groups coz the group had accepted a big tour gig & one guy couldn't get time off & also couldn't afford to loose their job. When the Masqueraders played Prestatyn, their lead singer stayed in the US to keep his 'truck driving' job. For the guys (who still play regular gigs in Memphis clubs) this was their biggest / best gig in 30 years so for Lee Jones to 'give it up' can't have been an easy decision ... ... but in the real world, keeping everyday finances in order is the main thing. In the UK, we have quite friendly welfare / medical rules. They do not in the US. There if you fall on hard times, the rich there will just say.... serves you right, pull yourself out of the problem, get a job, I'm not helping, you're a waster.

Joe Tex also had a dynamic stage show from an early stage .... he also claimed that JB pinched some of his 'trademark' stage moves. I'll ask Kenny Hamber about Jackie Wilson & Little Willie John's stage acts. He was inspired to join show biz as a singer after seeing live shows by the 2 guys at the Royal Theater in Baltimore in late 50's / early 60's. He did tell me that Jackie Wilson was 'super impressive' on stage but I didn't go into detail on why he thought that and also didn't aslk him about LWJ's stage act.

.... MORE ..... Eddie Kendricks, Paul Williams, Willy Waller, and Kell Osborne, as the Cavaliers, sang in local talent shows with other up-and-coming Birmingham, AL, artists including Frederick Knight, Barbara Lomax (B.T. Express), and Richard Fisher (Jive Five). Kendricks and Williams moved to Cleveland, OH, in the late '50s and also performed around that area. The pair then hooked up with Cleveland natives Paul Hayes and Fred Fluellen but the ensemble never recorded. With nothing happening in Cleveland, manager Milton Jenkins took over the reins and persuaded Williams and Kendricks to move to Detroit. Kell Osborne joined them in Detroit; it's unclear whether Waller also moved up from Birmingham to join them in the motor city, but Detroiters don't recall him being on the scene. Jenkins next renamed the trio, the Primes. Kendricks & Williams both worked (back of house) at a hotel in Cleveland. In quiet times at the hotel, they would practise their singing. After getting the couple of locals to join them, they honed their harmony singing and even got to perform shows at the hotel where they worked in the city. Somewhere (!?!) I have the name of the hotel they worked in & may even have a photo of them taken there.

The (RCA) Cavaliers / Fellas cutting for Gemini Star Records would certainly seem right, time scale wise .... ... though unless those recordings were put out under another group name, they didn't seem to escape from the tape vaults ... ......... anything much known about the Constellations ??

The Cavaliers / Fellas after David Ruffin signed a solo deal back with Motown .... .... guess the label name should have read Gemini Star ...

David Ruffin & the Cavaliers .............

The Ko-Ko Lounge in DC ............

A photo of the Cavaliers .....

The DC based Cavaliers outside a Washington club ....

The RCA Cavaliers teamed up with David Ruffin after he was booted out of the Temptations. They became his 'Fellas' & even played live gigs with David until Motown got him to return as a solo artist ....

The RCA (Detroit) set of Cavaliers & a 1967 45 release .....

Another outfit that used the name in the 60's .... .... this lot had some hits (but weren't soul related at all) ....