Roburt

Could the Chicago Garie Toms have been a musician / band leader who led a Review that featured the named singers ?

Lots of 'island' influences in Miami, so probably Voodoo Pete was someone with links to Haiti or who wanted folks to think that he had such links (no idea why though). Might have been Pete Smith under another name !! Miami was always a popular place to play especially for northern US based acts / groups (from Chicago, Detroit, New York, etc) in the winter as they could escape the bad weather back home. A group that already had a very long history by the 1960's was the Red Caps. The group had recorded "Poor, Poor Me" with George Tindley on lead and "Blueberry Hill" featuring a solo by Steve Gibson as the 50's expired. These cuts were paired for an early 1960 45 release on Rose Record's Stage subsidiary. In the spring of 1962, the Red Caps split into two groups with George Tindley going off to form the Modern Red Caps (who would later cut for Parkway, Smash, Lawn, Swan & United Artists). Steve Gibson (the leader of the original group) led another set of Red Caps and they played lots of live gigs. Steve hired new lead singers & these included Tammi Montgomery (Terrell) in 64/65 and Barbara Randolf in 66/67, but I believe that Barbara had been replaced by Pepi Mitchell before the middle of 1967. Whoever the group's female lead singer was in October 67, they had secured a booking at the 7 Seas in Miami.

September 64 and a Detroit group plays some gigs at Clyde Killens Island Club.

Back in Jan 64, you could catch Major Lance at the Knight Beat and just 5 days later Garnet Mimms was on at the same place.

RE: these are second issues and are nothing like the numbered 500 So this 2nd issue doesn't sound identical to the one on the numbered 500 ? Coz if it is the same mix, then it is NOT nothing like the numbered 500.

I have posted some similar ads to these on the net in the past. As a result of that a couple of weeks ago I was contacted by Emily Gibson of the Black Archives Foundation of South Florida. She had been checking the net & had come across one of those sites. She told me that her organisation was staging an exhibition in Miami to celebrate the entertainment scene in the Overtown area of the city back in the 1950's/60's/70's and they would like to use some of the ads I had posted. I said I'd help and I had to send her high definition digital copies of about 20 to 30 such ads (some of which I had posted on the net in the past, others I hadn't but were relevant to the proposed theme of the exhibition). Anyway, they will be using lots of the stuff I sent. The exhibition will be staged in the Ward Rooming House Museum and Gallery and will commence on June 23rd. The Ward Rooming House Museum and Gallery is located in the Historic Overtown Folklife Village on Northwest 2nd and 3rd Avenues between 8th and 10th street. Designated by the State of Florida as the Overtown Main Street Community, the mission of the Folklife Village is to restore historic sites of significance in the Overtown community, creating a regional tourist attraction showcasing the legacies of Miami's Overtown and the Harlem Renaissance, as well as the Black cultural heritage of South Florida, the Bahamas and the Caribbean. The Overtown area is where the likes of Sam Moore grew up and Jerry Williams lived when he was based in Miami (Overtown runs Nth to Sth from around 20th to 2nd, just above Miami city centre itself). ANYWAY ............... a Miami 'Chitlin Circuit' show back in 1962 .....

There are ads for Miami' Chitlin Circuit' venues on the 'Info on the Professionals' & '(Chicago) Soul Revue 1968' threads. Here's another ad for a show at Castaways ...... as I said in the 1st post, I'm away at present & so can't really check the net for much info ... this show featured Georgie Porgie & the Cry Babies .... plus .... Bobby Cloud & the Soul Explosions. Did either of these outfits manage to land a record deal & if so, is anything they had out worth chasing ?

Anybody know if the Buck Ram group 'The Prescripion' (who look a bit like a pretend Fifth Dimension) managed to estabish themselves & land a record deal ??

By all accounts, the Drifters & Margie Hendrix were ensuring that 'dancing & delirium till 5am' was taking place at Castaways.

Eurostar will be transporting us to Lille in a few weeks, so please post some positive responsives (but I'm not allowed to buy any more records these days, so if the wife asks ... I never posted this).

On the road at present (another short break.... but somebody has to take em) so checking up on soul facts is more diffficult than usual at present -- as is finding decent internet access -- but I'll post a few things anyway. Miami back in the 60's was a very strange place. Loads of great shows starring soul acts BUT two very different scenes. There was the 'white audience' shows at venues such as South Beach hotels & posh clubs where Motown & top soul acts were regular entertainers whilst the acts themselves had to find different places to both sleep, eat & watch shows (they were allowed on the hotel show room stages but couldn't have a room or meal in the self same establishment). Then there were the places where the black audiences went; the Continental Club being just about the top of these venues. The likes of Sam & Dave, the Professionals, Roy Hamilton, Bettye LaVette, The Laddins (aka Steinways) were regular performers in the black venues whilst the best selling Motown acts were ever present performers in the South Beach hotels. ...... But some 'strange' acts crossed over to the white venues. An outfit that landed regular gigs on the 'white' side of the divide were the Jesse Ferguson Gospel Jazz Singers. From their name their reportoire can't have been too familiar to the audiences they were playing for. Even stranger, the group decided a change in name might land them a higher profile & recording contract. So the Gospel Jazz Singers became Jesse Lee Ferguson & the Outer Limits (& they did land that record deal). A guy who got regular bookings on both sides of town was Chuck Jackson, he got loads of bookings in the black clubs on the strength of his Wand R&B hits. When his revue played the white hotels in the later years of the 60's, it was billed as 'the Motown Sound that's a leader on every chart'. An 'out of town' female to play 'white' gigs was Margie Hendrix -- well known to Ray Charles fans but hardly a household name (in her own right) in the pop charts or white households. The Original Drifters were still securing 'white' gigs in 1968 but I guess more as an oldies act who performed their early 60's pop chart hits. Another 'lesser known' act to get quite a few 'white' bookings was Teddy Washington & the Soul Searchers. I don't think this outfit had a connection to DC's Soul Searchers (but I could be wrong). Pity you can't catch such acts in the area these days.

The 'Boy Meets Girl' project & album was / is great (William & Mavis Staples + other Stax duets) .... if you don't know it, give it a try.

William's 1st recording was way back (over 50 years ago in fact) but he made fine tracks over a very long period. Here's one I really like from 1985 ..... Extra Extra Read All About It ..... https://www.youtube.com/watch?v=qvSpbsybnlM

Cheers Bob. ... Judson Moore's Capri 45 .......

Have any of our Chicago experts (Bob!!) any idea who the guy leading this review was. He had taken the package down to Miami for this1968 show. Obviously the Judson Moore who was part of the review is the Judson Moore on Capri ("Everybody Push & Pull") but does this Garie have any connection to 70's disco guy Gary Toms ?

A higher definition version of (part of) the quartets photo used in the Miami show ads .....

The Continental Club is billed as 'World Famous' coz it used to operate under the name of the 'King O' Hearts'. Back in 1960, it was the club where Dave Prater met Sam Moore and they started performing together as a duo .... they played solidly at 6000 NW 7th Avenue (in Overtown, Miami) for the next 3 years -- usually 6 nights a week ..... when they signed with Roulette 3+ years later, the record company shortened their name to SAM & DAVE ..... you may have heard of em !! BTW, Mr. Walters label was Wax-Wel and his artist was Mr. Percolator. I've got some ads for Mr. Percolator 45 promotional nights that were held at the Continental Club.

Mr. Walters gets a mention coz (apart from his shop being just across the road from the club) he promoted a lot of shows at the club. He did fashion nights (where wigs figured prominently of course) but he also had his own record label & did 45 release promo nights there & he also ran other 'live show' nights at the club. Can't recall who it was that he released 45's on at present (but they're collectable singles) .... memories shot .... I'll check & post again with further details.

Yes, I was right .... another Miami ad ......

I seem to recall that another ad I have for a show they did in Miami says ... DIRECT FROM DETROIT ... I'll look it out & confirm this. BTW, the photo above my ad post is lifted from another ad; the ad I posted just uses a 'cropped' version of it.

Ska kings lp came out twice on uk ATlantic with two different sleeve designs, orig is plum label with dancers on the cover YEP, that's the one I've got (the original). Used to also have a UK Atlantic issue 45 but that went when the mortgage outstripped the wages many moons back.

.... FROM AN EARLIER LISTING ...... They're talking about me - Johnny Bragg (Elbejay) Um um um um um - Major Lance (Okeh) I had a fight with love - Johnnie Taylor (Stax) Livin' for the weekend - The O'Jays (Philly International) Wear it on our face - The Dells (Cadet) Barefootin' - Robert Parker (Nola) Soul sister, brown sugar - Sam and Dave (Atlantic) Let's wade in the water - Marlena Shaw (Cadet) ....... all the above were massive UK soul clubs plays in the past.

RE: 14/ Betty Harris and Lee Dorsey - love lots of loving (Sansu) This was recently mentioned in the 'UK Little Labels' thread (it was on Buffalo here) & a youtube clip of it posted. Had the UK 45 for over 40 yrs now (not played it in years) ... but it does sound well good now.

So is it known which studio John Davis / Frank Fioravanti used in Philly to cut the tracks released on Concept, Omega, Philomega & the like. No doubt it was an old established place where the equipment was well out of date by the early to mid 70's (the time they were using it).

Don't want to start a war (& my personal anti-Casino opinion doesn't matter much).... ... but the sounds played at the Wheel, Junction, Va-Va's, Torch, Blackpool Mecca were around 95% fine (IMHO) whereas the sounds played at the Casino were only around 60 to 70% right (too many pop items, mindless instros, stomper tempo soulless cuts by far). In the venue's declining years, rival niters in places such as Rotherham, Cleggy & Sheffield (+ Loughboro, Warrington & Leicester) seemed to get the sounds 'back on track' but things went a lot array in Wigan's major years.