The M.V.P’s: Their True Identity Discovered.”
The MVP’s 1971 release for the Buddah label, “Turning My Heart Beat Up” has become one of the most iconic records to have ever been spun on The Northern Soul Scene, due to its inclusion as part of the soundtrack of Granada Televisions 1977 documentary, ‘This England”. On the much maligned night their camera’s entered the underground nocturnal world of Wigan Casino.
There have been several different schools of thought throughout the ensuing decades as to whom the group really were? From claims that they were a white pop group, a claim probably based on some of the other middle of the road material that the songs writers and producers Bobby Flax and Lanny Lambert have in their repertoire. Others believed them to be in all probability the same group as the Florida outfit ‘The MVP’(Most Valuable Players) who recorded a string of 45’s and an album of the same name on the MVP label. Fortunately at last all these previous assumptions have now been disproved.
The real story behind the identity of the group arose albeit unintentionally when following a licensing deal between us (Soul Junction Records) and veteran Atlanta, GA songwriter, performer and producer Thomas ‘Tee’ Fletcher. From whom we had licensed The Combinations Kimtone 45 rarity “I’m Gonna Make You Love Me”. When we asked Tee Fletcher if he had any promotional photo’s or background information on The Combinations he advised me that he would introduce me to a former recording artist and friend of his, one Mr. Al Davis quote “Al’s the best person to ask”! So during the ensuing conversation with Al Davis the following story of the true identity of The M.V.P’s unfolded:
The Combinations were a vocal quartet out of Atlanta, Georgia, who recorded a solitary 45 single entitled “I’m Gonna Make You Love Me/The Goddess Of Love” in 1968 for the vanity Kimtone label. This project was a collaboration between Thomas Fletcher (or as he’s more widely known as ‘Tee’ Fletcher) and Billy Lyles. Tee would feature as producer and arranger upon both sides of the 45, with him being the songwriter on “I’m Gonna Make You Love Me”. Tee remembers the group’s original line-up as being the lead singer Emory Cloud supported initially by a bass singer known as Smitty, a first tenor known as Big Harold and a second tenor Little Harold, with Smitty later being replaced by Jack Fraser (prior to the Kimtone 45 release).
Although the Kimtone 45 did make some noise locally for The Combinations they had by then already built a reputation as a sharp well rehearsed working group who performed regularly throughout the states of Georgia, Florida and The Carolina’s. A later merger between two groups would see Emory Cloud and Jack Frazer from the Combinations joining up with Jesse Bryant and Alphonzo ‘Al’ Davis of the group known as ‘The Classic’s, the name under which this new ensemble continued to perform, for the immediate future anyway.
Jesse Bryant, Al Davis and Jack Frazer all knew each other well having previously performed with Louis Grant as part of the Doo Wop group The Continentals who recorded the 1962 outing “It Doesn’t Matter/Whisper It” (Hunter 3503) with Louis Grant being the songs composer.
One of the Atlanta clubs where The Classic’s often performed was situated on the formerly named Hunter Street now known as Martin Luther King Street, and was named after it’s owner, the former Major League Baseball player, Donn Clendenon.
Donn Clendenon is best remembered as the World Series MVP (Most Valuable Player) of 1969 when as the first baseman for the New York ‘Amazin’ Mets he scored a series clenching record of home runs for a five game series. It was Clendenon by then acting as The Classic’s manager who was responsible for persuading them to drop the name ‘The Classic’s in favour of and in an act of his own pure self-indulgence, assume the new group name of ‘The Most Valuable Players’ (later abbreviated to just ‘The M.V.P.’S).
The New York based Buddah label at the time had a series of A&R men working throughout the southern states searching for new talent. It was through Clendenon meeting one of these A&R men and accepted his invitation to take The M.V.P’s to New York that they recorded the Bobby Flax and Lanny Lambert produced and penned “Turning My Heartbeat Up/Every Man For Herself ”(BDA 262).
The lead vocals on “Turning My Heartbeat Up” were performed by ex Combination lead singer Emory Cloud, while the lead vocals on the 45’s flipside “Every Man For Herself” were performed by Al Davis. “Turning My Heartbeat Up” would later become a popular sound on the UK northern soul scene achieving iconic status with its inclusion in the sound track of the 1977 Granada Television Documentary “This England” feature of Wigan Casino. Unfortunately there was to be no more recording made and sadly all the members of The Combinations have since passed away, with the exception of Alphonzo Davis, the last of ‘The M.V.P.’S’.
Words By: David Welding.
The above is an extract taken from the sleeve notes of the forthcoming Soul Junction CD album: “We Got A Sweet Thing Going On” Volume 2
Acknowledgements to: Thomas ‘Tee’ Fletcher , Alphonzo ‘Al’ Davis and Allen McKeown.
Group photograph courtesy of: Alphonzo Davis.
Lil Gray : “Are You Fooling”
Lil Gray was born Leoncy Luvern Lloyd on the 3rd of July 1929 in the city of Hattiesburg Mississippi. She later moved to Chicago with her great grandmother during 1948, where she met her future husband Norwood Gray Sr, whom she married in 1950. Their first son Norwood Gray Jr was born in 1951 followed by a daughter Denise in 1952 and a further two sons Melvin in 1954 and Romaunt in 1956 (now both sadly deceased). Lil’s husband Norwood Sr, held down two jobs, working by day for the Peoples Gas Company, and by night and weekends as a plumber. He eventually made enough money to allow his growing family to move from an apartment to a house, where he later built a basement studio for Lil who was a practicing licensed beautician to work from. Lil was a regular singer in church and held aspirations of one day becoming a professional performer. Her husband was very supportive of his wife’s ambitions, paying for her to receive singing lessons from a voice coach by the name of Zilner T. Randolph, himself a respected jazz musician.
Following Zilners training, Lil began to perform in local clubs from 1963 onwards. She later sang with blues legend Willie Wally Dixon’s Revue. During 1965 one of Chicago’s most influential Jazz, Blues and RnB clubs of the 1950’s, The Club Delisa (named after its original owners The Delisa Brothers) was reopened by WVON (The Voice Of A Nation) radio station disc jockeys E. Rodney Jones and Purvis Spann. It just happened that by chance Lil’s husband Norwood was employed to carry out some plumbing work prior to the clubs reopening. Whilst at the club Norwood mentioned his wife to Purvis Spann, and it was from this conversation that Lil was eventually introduced to local record label entrepreneur and WVON recording engineer, Ulysses Samuel Warren.
Ulysses Warren or as he was more commonly known, U. S. Warren had recently formed his own record label under the name of Jerma Records (although he didn’t copyright the name until 1966).
Warren signed Lil to his label where she recorded three 45 releases under the stage name of Lil Gray (rather than Leoncy Gray). Firstly “Are You Fooling/I Want To Tell (You Something Blues)” Jerma (101) followed by “Out Of Nowhere( You Suddenly Appeared)/ I Got Tears All Around Me” Jerma (102) and finally “I Got Tears All Around Me/One Day Your Gonna Get Burned” Jerma (103).
“I want To Tell” (You Something Blues) was championed Purvis Spann on his regular WVON late night blues radio show but the record never really made it big in Chicago, but it did go on to receive extensive airplay in Philadelphia. Lil’s follow up singles again didn’t take the Chicago listening audience by storm, But undeterred by the lack of a hit record, Lil continued to work as a full time performer in clubs in and around the city of Chicago, frequently appearing with Simtec Simmons and Wylie Dixon this lasted until circa late1969. As the 1970’s dawned Lil began to ease back on her own performing career and began to manage several bands some of which she employed as backing musicians at her own ever decreasing personal performances.
Norwood and Anthony later went their separate ways. In 1969 Norwood Jr was invited to play on a session that also featured a brass section that included Charles ‘Butch’ Carter (Trombone), Milton Thomas (Soprano and Tenor Saxophone), Louis Minter (Alto Saxophone) and the late Kevin Thompson (Trumpet). It was from this chance meeting and with the later addition of Clifford Conley (Guitar), Ronald Scott (Keyboards), Dennis Howell (Drums) and finally Otis Gould (Conga Drums and Percussion) that a new larger version of The Dynamic Sound was born, this time around renaming themselves, The Dynamic Sounds Orchestra (DSO). This new young group of musician’s where taken under the guiding influence of Lil Gray, when she became their full time manager in 1971, a position she held until the DSO broke up in 1979. During which time Lil’s young protégé’s would go on to become the backing and road band for one the windy cities most respected and world renowned groups The Chi-Lites.
Following the eventual breakup of the DSO in 1979 Lil gradually retired from the music business to enjoy life as a housewife and grandmother, which she continued to do until her untimely death in 2000 from heart failure.
Words by David Welding
Acknowledgements to: Norwood Gray Jr, Otis Gould
Photograph courtesy of: Norwood Gray Jr
Label Scans courtesy of Craig Butler, Andy Whitmore, John Anderson & Karl White.
How To Sing Your Way Out Of Jail: The Charles L. Blakely Story.
In 1969, a 20 year old Charles Lorenzo Blakely along with fellow members of the street gang he hung out with became involved in a shoot out with another rival Milwaukee street gang which resulted in the death of one of their rivals members.
Following the arrival of the Police, the shoot out developed into a high speed car chase with Charles being the driver of one of one of the evading vehicles. Charles’s vehicle was eventually brought to a halt when the Cops shot all four tyres out which caused the car to crash at 90mph into a department store called Schuster’s Warehouse. The other occupants of the vehicle managed to get away with the exception of Charles (who himself was packing a gun) being shot twice by the Cops in the back and shoulder as tried to vacate the vehicle as well as sporting a broken arm received in the crash.
Following his arrest and conviction he was sentenced to 30 years for ‘Attempted 1st Degree Murder’ (due to the shots being exchanged with the Police) and a consecutive 10 year sentence for ‘Eluding’ (evading) arrest in a high speed car chase. After a subsequent retrial Charles as the car driver was found not to have been directly involved in actually shooting at the Police, so the initial 30 year sentence was quashed. This left Charles to continue serving his other 10 year sentence at the high security Green Bay Reformatory in Allouez, Wisconsin.
At the time a common practice within the US Prison System was to encourage inmates who had shown some musical ability to channel their energy into performing as groups for their own and their inmate’s entertainment. Thus in 1970 Charles Blakely formed his first ensemble under the name of the Mansion, a name he chose after reading a book on English Stately Homes!
The Mansion’s line up included at different times Michael Locke, Stanley Newburn, Carl Anderson, John Crawford, Michael Smith, Larry Moses, Ronald Hardin, Jerome Wagner, Lewis Lister, Maurice Payne and Charles himself. One day while rehearsing in the prison chapel, The Mansion attracted the attention of the warden’s wife who happened to be showing some local dignitaries around. Impressed by what she heard the warden’s wife was instrumental in The Mansion being invited to perform for the city’s television station WBAY, where they recording two holiday programs.
The warden later gave them permission to perform outside the prison which brought them to the attention of a Milwaukee neighbourhood program adviser by the name of Al Dunlap of the Commando Project One. It was through Dunlap that The Mansion recorded their solitary 45 release in 1974 “The Girl Next Door /Stop! Let Your Heart Be Your Guide” for the local Milwaukee label Gibbs (406). The label’s owner Bill Gibbs held the release back until some of the members of The Mansion were granted their release papers, as Prisoners were unable to sign contract agreements while still incarcerated at that time.
Although Charles Blakely remained incarcerated, he was later moved to a medium security prison in Fox Lake County, Wisconsin. While there he formed a further group, a gospel ensemble called the ‘Bell Tones’ who’s line up included Charles, Mayweather Lee, Joe Hayes, and Levell Rudd. The formation of this group was seen as major factor in Charles’s rehabilitation which led to his eventual parole in late 1976, thus serving 7 years of his initial 10 year sentence.
Once on the outside Charles with former ‘Bell Tone” member Mayweather Lee were joined by Charles (Sonny) Bryant and Jimmy Taylor to form a new ensemble by the name of The “Final Chapter”.
As the final Chapter in 1980 they recorded a solitary release for Milwaukee main man Marvel Love’s New World Label “Now I Know/Get Down For Your Action” (NW800), a brief association that for several reasons was to eventually break down. Although Jimmy Taylor left to pursue a career as a blues musician the remaining three members of the ‘Final Chapter’ continued to perform until they finally disbanded in 1987. Although recorded, further Final Chapter songs post to their new World release remained unissued, a situation soon to be rectified with their inclusion as part of a future Soul Junction project.
Charles himself is still active in the music business and is currently working on a gospel project. Following his parole in 1976 Charles has left his notorious past behind him and has stayed on the right side of the law with not even as much as a speeding ticket to his name to this day.
Words by David Welding
Acknowledgements to: Charles L. Blakely for the colourful interview and photographs.
Label scans courtesy of Mark (Butch) Dobson.
The above article is an extended version from the sleeve notes of the Soul Junction CD album “We Got A Sweet Thing Going On” catalogue number SJCD 5009. Which features both sides of ‘The Mansion’ 45.
The Trey J’s Story.
The Trey J’s were a vocal duo which featured James Binford and Joseph Smith. James Binford originally from Indianapolis, Indiana began singing in various local Doo-Wop and church ensembles from the age of 9. Something he continued to do after enlisting in the Marine Corps as a 17 year old, often performing in Officers clubs where he was stationed. He also ventured out of camp to perform in local clubs, building a solid reputation as a performer. While stationed in Albany, Georgia James was introduced by his then wife to one of her relatives Mr Eddie Harris, the band leader of one of Alanta’s most popular acts, the Eddie Harris Review. Following his release from the Marine Corps James took a job with International Harvester in his native Indianapolis before being transferred to the Macdonald Douglas Aeronautical Engineering Company in Atlanta. Here he once again hooked up with Eddie Harris working as a backing singer as part of his Review. James later had aspirations of forming his own ensemble so under the guidance of his manager Johnny Glover, James, began to form his own review. In 1968 James and Johnny held an audition for a baritone vocalist through a local radio station. From a 150 hopeful applicant’s a 28year old Detroiter by the name of Joseph Smith was chosen. Joseph who had previously moved to Atlanta some 10 years earlier where he had married his first wife Jacklyn and raised a family of 3 children.
Thus with the addition of Joseph the Trey J’s were born, their name being taken from the Americanization “Trey” a derivative of the French word for the number three “Tres” and the first initial of James and Joseph and their late manager Johnny Glover’s christian names, hence Three J’s equals the “Trey J’s”.
By the early 1970’s The Trey J’s had become regular performers at Atlanta’s most infamous Black night club ‘The Pink Pussy Cat’. It was while performing at the Pink Pussy Cat that the Trey J’s came into contact with a local record producer by the name of Thomas Fletcher Davis more commonly known as Tee Fletcher. Tee a successful recording artist in his own right with a string of recording for several labels such as Josie, Shurfine, and Tragar had begun his own production company Tee Gem Records.
James Binford had previously written the basic lyrics for a songs entitled “We Got A Thing Going On” and one day while at the Pink Pussy Cat with Tee Fletcher accompanying him at the piano he began to recite the lyric’s. Together they composed this and a further song entitled “I Found It All In You” which Tee eventually released on his Tee Gem label (PS-4044).
Although the Trey J’s only ever had the one 45 release, they continued to performed live shows on both the college and Chitlin circuit as the Trey J’s Review. The Trey J’s Review also featured Ray Ransom and Reggie Hargis who later became members of another Atlanta ensemble, known as Brick who enjoyed a successful recording career of their own from the mid 70’s through to the mid 80’s, scoring a number 1 R&B/pop hit in 1976 with the song “Dazz”. The Trey J’s also once featured as part of a tour that included Chicago recording artists, The Chi-lites and Ruby Andrews. (Due to Ruby being a friend of Johnny Glover’s wife).
In 1972 Joseph who by now was married to his second wife Barbara a former pastry chef who he had met while working as a waiter at the Morrison Cafeteria returned home to Detroit. Although he initially tried to find work as a singer he eventually embarked upon a career as a social worker, gaining a masters degree in social studies, his full time occupation until his retirement. Sadly Joseph passed away in 2010 from lung cancer.
In 1974 James Binford entered into the Islamic faith, taking up the name of James Hassen Ameen. He later returned to Indianapolis where he became a promotional booking agent his occupation until his later imprisonment during 1992 although he is reputedly due for parole sometime during late2014.
The Trey J’s “I Found It All In You” is currently enjoying a current reactivation due to it’s dramatic funky edge guitar and horn rifts fitting perfectly into the current funky soul genre. While it’s haunting deep soul ballad flip “We Got A Thing (Going On)” is a must for any real soul collector.
For upto date information and to hear sound clips of the 45. Release Info: Click Here
Words by David Welding
Acknowledgements to: James Binford, Carolyn Binford, Barbara Smith and Thomas (Tee) Fletcher.
The Makings Of A First Impression: The Richard Brooks Story
Richard A. Brookes was born 0n the 13th of May 1940 in Chattanooga, Tennessee as the eleventh child of John Wesley and Mattie Stephens Brooks. While attending The Howard High School he formed a vocal group known as the Pleasures with Richard wooing his audiences as a juvenile Elvis impersonator.
Later Richard joined his older brother Arthur’s group ‘The Four Roosters And A Chick’ their line up being Arthur Brooks, Fred Cash, Sam Gooden, Emanuel Thompson and his sister Catherine Thompson. Both Brooks Brothers came to the same conclusion that they stood a greater chance of success if they moved north to Chicago but the only member of the group to accompany them was Sam Gooden, with the rest of the group choosing to remain in Chattanooga.
Upon their arrival in the Windy City Richard, Arthur and Sam enrolled at the Washburn High School where they first met Jerry Butler and Curtis Mayfield, forming a new group known only as the ‘Roosters’.
Following the group successfully winning first prize in a local talent show they were approached by Mrs Violet Muszyinski (later of Bandera Records) and Mr Eddie Thomas a local Chicago promotions man who then became their manager.
In 1957 the ‘Roosters’ who under Thomas’s advice changed their name to the perceived hipper sounding ‘Jerry Butler and The Impressions’ recorded the Richard Brooks penned “For Your Precious Love” which appeared on the Vee-Jay, Falcon and Abner labels.
“For Your Precious Love” became a hit reaching #11 on the US pop charts and #3 on the R&B charts respectively. In the wake of the groups third Abner release ‘The Gift Of Love/At The County Fair’ (1023) Jerry Butler left the group to pursue a solo career being replaced by former Rooster Fred Cash the group then reverted to the name of just “The Impressions”.
In 1959 following the release of ‘Lonely One/Senorita I Love You’ (Abner 1025) Vee-Jay decided to drop the ‘Impressions from their artist roster although they continued to release their material.
In the same year The Impressions signed to another Chicago independent label, Bandera records. Where they recorded a solitary release ‘Listen/Shorty Got To Go’ (Bandera 2509) the line up on this release was Curtis Mayfield, Fred Cash, Richard & Arthur Brooks and Sam Gooden who sang lead vocals.
A further solitary Impressions release although recorded in 1960 later appeared on the New York based Swirl label in 1961 ‘Don’t Leave Me/I Need Your Love’ (Swirl 107). Don’t Leave was a R&B screamer similar to The Isley Brothers ‘Shout’ while the flipside ‘I Need Your Love ‘ was an earlier version of a later Impressions ABC recording.
The line up on this release consisted of Richard Brooks (who sang lead vocals), Arthur Brooks, Fred Cash and Sam Gooden. Curtis Mayfield at that time was touring as lead guitarist for Jerry Butler.
Later in 1961 and reunited with Mayfield the Impressions signed for ABC Paramount scoring an immediate R&B hit with “Gypsy Woman”. In 1963 following the Impressions sixth ABC release ‘Sad, Sad Girl And A Boy’ brothers Richard and Arthur Brooks left The Impressions due to a disagreement over Curtis Mayfield’s continued insistence on writing all the group’s material.
Following their departure from the Impressions Richard and Arthur moved around several U.S towns with Arthur meeting his first wife Everlyn in Baltimore. They later pitched up in Detroit where their older brother Harrison and his family lived.
Harrison, Arthur and Richard became involved with the tiny independent Card label, where their song writing and production credits can be found on the labels only two reputed releases.
Richard and Arthur together with old Chattanoogan school friend Emanuel Thompson then embarked on a brief flirtation with the Motown label under the group name of the Showstoppers, a planned release ‘Old Time Loving/Little Girl You Had Your Chance’ was recorded but never released. Emanuel Thompson then chose to return home to Chattanooga with Richard and Arthur remaining in Detroit.
The Brooks Brothers then signed to Taylor and Turners Detroit Sound Studios, where amongst other production projects they recorded the northern soul outing ‘Looking For A Woman/Two Great Lovers’ for the studios subsidiary label Tay (501). The line up on the Tay release featured the three brothers Richard, Arthur and Harrison as well as Harrison’s son, Harrison Jr (both Harrison’s are now sadly deceased).
Richard Brooks was also responsible for composing a song for the all girl group The Sequins ‘Try My Love’/He’s Gonna Break Your Heart’ Detroit Sound (503).
In 1966 Richard and Arthur signed with their former mentor Eddie Thomas for his newly formed Thomas label, where they recorded the solitary release ‘You Got Something Baby/Come See’ (Thomas 306) the B-side is a instrumental while the vocal A-side reputedly at the time of release attracted the attention of the British pop band the Dave Clark Five. They along with the Beatles were part of the mid 60’s Brit invasion of the USA, appearances on the Ed Sullivan Show meant that for a time they were more popular stateside than in their native UK. Unfortunately the DC5’s initial approach to record ‘You Got Something Baby’ never materialized.
Richard and Arthur later returned home to Chattanooga where they formed their own production studio.
Into the 1970’s Richard and Arthur formed a new group that included their cousin John Haserarig, two sisters Veronica and Joann Skillern and their cousin Shirley Dial. This new ensemble was called ‘Brother Sisters and Cousins.
In 1973 Richard the groups lead singer took a demo tape of their material to the Nashboro studios in Nashville. A deal was signed and the Brother Sisters and Cousins initial release ‘Sinner (Have You Been There)/Smoke Stream appeared on Nashboro’s, subsidiary label Nasco (029) with ‘Sinner (Have You Been There)’ becoming a local hit in and around the Nashville area.
A reputed dispute with a group of a similar name led to the Brothers, Sisters and Cousins then changing their name to ‘Bits And Pieces’. As Bits And Pieces they recorded a follow up release ‘Did I Scare You/Smoke Stream’ (Nasco 031) in late 1973.
In 1974 Nasco again released the popular ‘Sinner (Have You Been There)’ this time featuring ‘Keep On Running Away’ (Nasco 033) as the flipside. Richard was responsible for writing all of the groups Nasco sides, all of which were heavily imported into the UK, as new releases to find great appreciation with both the Northern and Modern Soul scene’s of the early 70’s and beyond with ‘Keep On Running Away’ being a current popular reactivation today.
Following the eventual demise of the Nashboro group in the mid 70’s, Bits and Pieces all went their separate ways.
In 1978, Richard, Arthur reunited with one of their oldest friends Emanuel Thompson formed another group known as the Old (M) Pressions to record a solitary release on their own custom Brooks Brothers label ‘Let Me Know/Right On’ (9270). Although this 45 did very little in and around Chattanooga, it did become popular in Detroit due to the airplay it received from one of the city’s most influential disc jockey’s the late Al “The Perculator” Perkin’s.
In 2009 Richard in collaboration with blues man Oliver Johnson, (Albert King’s former band leader) formed their own production company. One of their most recent projects is Richards own cd project ‘I Am Back’ although recorded in 2012 it never really got past the promotional stage.
Fate then later intervened, courtesy of the husband and wife team of Dave Thorley and Malayka Erpen. Malayka whose job involves making regular business trips to Chattanooga struck up a friendship with a local taxi driver. During their journeys together Malakya’s asked him if he knew any of the city’s local soul artists. He knew of several, later inviting Malayka out one night to meet one in particular. In a dilapidated club from a bygone age Malayka was introduced to the aforementioned Richard Brooks, with who over a game of cards which she did not understand and continually lost! discussed his performing career.
As they parted company Richard pushed a cd of some of his recent material into her hand, which upon her return to the UK was presented to us at Soul Junction.
Liking what we heard we contacted Richard and It is from this material that the Impressionesque ‘I’ll do Anything To Make You Happy’ and ‘With All My Heart’ have been taken for this excellent 45 release.
Words by David Welding
Acknowledgements to: Richard A. Brooks, Arthur Brooks, Eddie Thomas, Malayka Erpen, Dave Thorley, John Anderson, Bob Abrahamian, Ted Massey, Roger Banks, Mick Smith and Karl White.
Janet Wright ( a.k.a Pixie or Pix’y)
Janet Wright arrived in Detroit as a six month old babe in arms when her family migrated north from their former home in Georgia in 1947. As a child Janet absorbed all the musical influences that surrounded her growing up in the Motor City. She first started dancing at the age of 8 and it soon became apparent that she too had a vocal talent when her mother discovered her singing along to Sarah Vaughn’s “Broken Hearted Melody” on the radio.
In the mid 19 60’s Janet often performed in local talent shows often competing against other notable future female performers from her neighbourhood. Sisters, Joyce and Pam Vincent .Who later went on to record for Golden World and Solid Hit records as part of the all girl group, The Debonaires. As well as Gwen Owens who recorded for the Velgo, Oncore, Josie, Lau-reen and Casablanca labels .
At the age of 20 Janet was recruited by Jack Ashford for his Just Production company where she worked as a session singer under the supervision of Lorriane Chandler for a short while.
Janet then later signed on at Ernest Burt’s Magic City Label under the recommendation of Ernest’s wife Barbara. It was Barbara who suggested to Janet that she should adopt the performing name of Pixie Wright. At Magic City Janet worked as a backing singer and performed with several of the artists on the Magic City label. Although no solo recording of Janet’s are believed to have been made.
Following the closure of Magic City Janet moved over to Don Davis’s United Sound Studio’s where she worked as a backing singer with Pam and Joyce Vincent, Krystal Davis and Yolanda McCullough featuring on many of the records that the United Sound produced at that time. This continued until Joyce’s departure to join Tony Orlando & Dawn. Yolanda and Krystal then made the move to New York with Janet soon following them. Once in New York Yolanda and Krystal recommended Janet to Producer Harold Wheeler. Wheeler had worked on the hit Broadway play ‘The Wiz’( a modern adaptation of the Classic film ‘The Wizard Of Oz’) and was by now running the sort lived Atlantic disco subsidiary label ‘Wing & A Prayer’. Here he created two studio groups one of which he signed Janet to under the name of ‘ Consumer Rapport’.
Wheeler recorded two single on Consumer Rapport, “Ease On Down The Road b/w Go On With Your Bad Self” (HS-101) followed by “Everybody Join Hands b/w Love Takes Tears” (HS-102) a later promo only 45 “A Holiday Gift/A Holiday Gift (HS-75) was later issued which featured Wing & A Prayers other studio group the “Wing & A Prayer Fife Drum Corps”.
Throughout late the 70’s Janet worked on many projects with many established artists such as Phylis Hyman, Luther Vandross, Change, Patti Austin, Eddie Kendricks, Jimmy Ruffin, Billy Idol and Jocelyn Brown. Janet a lifelong friend of Jocelyn’s incidentally sang backing vocals to Jocelyn’s lead vocals on Inner Life’s disc hit “I’m Caught Up (In A One Night Love Affair)” in 1979.
In 1984 Janet was signed by Henry Allen to Atlantic/Cottilion where she released the disco influenced dance track “I Can’t Take It”. After her Atlantic release Janet continued to do session work, which on several occasions allowed her to travel to Europe , touring with the likes of Gerald Alston, David Peaston, Natalie Cole and Whitney Houston amongst others. Janet enjoyed her European excursions so much that at one point she was seriously considering taking up residence in Holland. This ambition was sadly to be short lived following the death of her step-father in 1991 as Janet chose to return to Detroit to be closer to her mother.
In 2005 Janet became a fully trained myomassology therapist and herbal consultant, and currently spends three days a week treating her client’s sciatic problems.
In 2011 Janet returned to the studio to record a solo vanity project. Which yielded the cd single “Even A Fool”, A second vanity project began 2013 which will soon see the release of her own unique cover version of the Rose Royce hit “ Love Don’t Live Here Anymore” . Which will also be featured on the forthcoming Soul Junction “Extra Rich In Soul” SJ5007 various artists album.
Words by David Welding
Acknowledgements to: Janet Wright.
Photograph’s courtesy of Janet Wright.
J.B.Bingham
J.B.Bingham Jr was born on the 1st of September I945 in Chicago. He was the second eldest child of four raised by Thelma and James Bingham Sr. As a teenager JB cut his teeth singing lead vocals and playing guitar with several neighbourhood groups. One group in particular under the unlikely name of “The Vermacharms” also featured Walter (Simtec ) Simmons, his brother Ronnie Simmons, Mathew Whitfield and JB.
Photo:- Left to Right- J.B.Bingham, Walter (Simtec)Simmons, Mathew Whitfield, Ronnie Simmons (knelling down with bass guitar).
James’s first Guitar was loaned to him by the mother of Tom Jamerson, while Tom was away serving in Vietnam. Upon Tom’s return from the service James had to return the guitar. Tom later played bass guitar for Bettye Everette before eventually becoming her husband.
When James reached the age of 20 his family moved to Los Angeles but after a short time there they decided to return home to Chicago. James though decided to stay and try his luck in the music business. His first job came in 1966 when he signed to Johnny Rivers Soul City label as a staff songwriter and singer. He worked under the auspice of former Motown West Coast President Mark Gordon. Gordon who by then had left Motown to become an independent producer also managed James. The most successful artists under Gordon’s management was the pop/soul group, The 5th Dimension. Although during his time with Soul City James often toured and performed as one half of a singing duo with fellow Soul City stable mate Willie Hutch, no JB Bingham recordings where ever made. Incidentally it was while at Soul City that James was advised by Johnny Rivers to add the initial B to his name this was a decision influenced by one of hottest recording artists of the time, one B.J. Thomas and so J.B. Bingham he became.
JB later moved on joining Marlu Records as a A&R man where he managed a girl group known as” The Voices”. JB along with Jack Brown co-wrote and arranged two songs on the Voices the “Soul Clinic” and An Imitation Of Life” with both songs gained a release on Marlu 1004 under the artist name of The Voices and Thee Counts”. The Voices line up included former Friends Of Distinction lead vocalist Barbara Love, Geneva Crawford and Patrice Brown.
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In September 1969 JB formed his own and most successful group the “Five Flights Up”; the groups line up featured former “Voices” member Geneva Crawford, Blanton McFarlin, Carlnetta Kelly, Charles Termell and JB as the lead singer. JB was fortuitously introduced by Harry Elston of “The Friend Of Distinction” to their producer John Florez who had recently produced the “Friends Of Distinction’s million seller “Grazing In The Grass”( RCA 74-0107). Florez by now had left RCA to go as a independent producer and liking what he heard decided to sign the “Five Flights Up” to a production contract and signed them to the Bell distributed T.A. label.
In 1970 the Five Flights Up hit pay dirt with their first T.A. release which featured two J.B. Bingham compositions “Do What You Wanna Do” b/w “Black Cat” (T.A, 202). “Do What You Wanna Do” became a hit reaching number 37 on Billboard’s pop single chart. Their follow up release “ After The Feeling Is Gone” B/w “Where Are You Going Girl “ (T.A. 207) peaked at number 89 on Billboard’s pop chart. A third T.A. release followed in 1971 “Like Monday Follows Sunday” b/w “California Girl” (T.A. 212) but this did not achieve the success of the previous two releases.
A forth “Five Flights Up” release appeared on the independent Oak label “Day Before Yesterday” b/w “There’s Nothing Wrong (With Loving A Stranger) (Oak 113). A reputed Five Flights Up album project entitled “After The Feeling Is Gone” was planned but believed to have been shelved by the powers that be at Columbia records. John Florez later went on to continue his midas touch producing a string of hits on the 5th Dimension as well as the Hues Corporation.
Photo:- Group members left to right: Blanton McFarlin, Charles Termell, JB.Bingham , Geneva Crawford and Carlnetta Kelly
In 1974 JB released his own first solo outing on Warner Brothers records, the John Florez produced “Peek A Boo” b/w “Sunshine” the song was arranged by D’Arneill Pershing, under the management of Steve Binder. It was Steve Binder who was responsible for JB signing with United Artists records. At U.A, JB was produced by both Steve Binder and H.B Barnum.
Binder and Barnum recorded several songs on JB which they offered to United Artists. The powers that be at U.A decided to pick up four of the songs for two 45 releases. The H.B Barnum/ Joyce Clay penned “All Alone By The Telephone” b/w the J.B Bingham penned “Live And You Learn” (U.A-XW816-Y) followed by two Bingham compositions “She’s Gone” b/w “Keep On Walking” (UA-XW872-Y). Both releases never really achieved the sales that they duly deserved, partially due to the fact that around 1976 United Artists had begun to disband their records division and thus never really put the full weight of their promotional machine behind J.B’s output. This was also coupled with the fact that H.B Barnum had also recorded “All Alone By The Telephone” on another West Coast group the “Checkmates” which was released on their rival major Polydor label at virtually the same time. Salvation did eventually arrive for JB releases when some twenty years after their release they where championed by the Dj’s and collectors alike of the UK Modern Soul Scene with “All Alone By The Telephone” now being regarded as a all time classic of this genre.
Following the demise of United Artists, JB briefly return to Warner Brothers as a staff writer.
JB’s writing talent’s eventually led him to become a music and artist reviewer at the” Los Angeles Sentinel”, the west coasts oldest and largest African-American newspaper a position he held for circa fifteen years. JB worked closely with his wife Carolyn who was also employed by the Sentinel as the Entertainment section Editor. James and Carolyn have two children, their daughter Anzantique and their son James Bingham the 3rd an aspiring young singer hoping to follow in his father’s footsteps.
Moving forward to the present JB is still involved in the music business following the formation of his own record label TSOC (The Sound Of Chicago) with his lifelong friend and business partner Charles Lewis in 2012. They are producing new material on a new group called the Voices (no connection at all with the Marlu outfit). J.B also performs his own one man act at several of the more notable steak houses throughout Los Angeles and Pasadena area.
In 2011 we at Soul Junction records contacted JB asking the inevitable question of did he have any unissued material. During the ensuing conversation JB mentioned three unissued tracks that he cut with H.B Barnum and Steve Binder that United Artists hadn’t picked up. So we made contact with the legendary record producer H.B Barnum and struck a deal. The result of which, two of JB Bingham’s previously unissued tracks will at last be gaining a belated 45 release. Have no fear the third unissued track with not remain all alone for two long as it too will be gaining a future release sometime later next year.
The first of these previously unissued J.B Bingham tracks will be the excellent upbeat “People On A Ego Trip” backed with the more mid tempo offering She’s On Strike” (SJ525). Please listen to sound clips - click here
Acknowledgements to: James Bingham , Carolyn Bingham and H.B. Barnum.
Photograph’s courtesy of James Bingham.
Label Scans courtesy of Steve Guarnori, Andy Whitmore and Francesco Giacobbe
Oliver Cheatham: Forever Saturday Night.
Native Detroiter Oliver Cheatham was born February 24th 1948 into a family of eight other children. It was his gospel trained mother, Maddie that encouraged her son to sing. Oliver was a shy child who would only sing to other people from behind the sofa. He was a keen sportsman who harboured thoughts of becoming a professional Baseball player with the Detroit Tigers. This changed one night when his sister Jackie recommended him to her then boyfriend Allen Cocker a member of the group known as The Young Sirs who just happened to be a man short for a forthcoming show. On his sister’s recommendation Oliver deputised and thus became a permanent member of the Young Sirs. The Young Sirs big break eventually came while they were performing at a local cabaret show. Unbeknown to the group Barbara Burt was in the audience. Barbara Burt together with her husband Ernest operated the Magic City label located at 8912 Grand River, the former home of Correc-Tone Records which they had purchased from its former owner Wilbert Golden in 1965.Upon Barbara’s recommendation The Young Sirs signed to Magic City where they recorded the mellifluous, “There’s Something The Matter (With Your Heart)/African Love” (MC 010).With Oliver by now assuming the role of lead singer. The groups others members were Oliver’s by now brother in law Allen Coker, Van Johnson and his nephew Mike Johnson and the group’s bass vocalist Ronald Noel. While at Magic City Oliver was asked by Ernest Burt to chaperone a group of guys some five years younger than himself who recorded under the name Mad Dog And The Pups, Although never strictly regarded as a member of the group Oliver did provide some of the backing vocals and occasional the lead vocals when his young protégés’ were found wanting.
Photo:- from left to right are: Mike Johnson, Allen Cocker, Oliver Cheatham, Ronald Noel & Van Johnson.
As the 1970’s dawned Oliver signed up with Marvin Higgins who placed him under the guidance of the highly respected record producer George McGregor. Oliver’s first McGregor, production “I’m Only A Man/Out Off My Hands” was released on the Black Rock Label (2002) under the pseudonym of Butch & The Newports. With” Butch “being Oliver’s nickname and The Newports being Allen Coker, Curtis “Kippy” Henderson.
A name change followed with Butch & The Newports now becoming The Gaslight with the addition of a fourth member Michael Eatmon. With three further 45 single releases appearing on Higgin’s Grand Junction logo. Firstly “I Can’t Tell A Lie/Here’s Missing You (1001), then” If You See Her/Drifting Away” (1002) followed by a second issue of “I’m Only A Man” but with a different flip side to the Black Rock release “I’m Gonna Get You” (GJ-1100)
The Gaslight’s next release “Just Because Of You/It’s Just Like Magic” first gained a release on the tiny independent T.E.A.I. label which was owned by Chuck Armstrong, a former road manager of the Dramatics. This release was later picked up for national distribution by the major Polydor label. It would appear that a second Gaslight release on T.E.A.I. may quite possibly exist. A track entitled “Hard Times” with “It’’s Just Like Magic” on the flip (See below).
At this juncture the all too common drug culture then prevalent throughout the recording industry began to lead to problems amongst the Gaslight which eventually saw the clean living Oliver leave. It was at this particular juncture that Oliver who by now was considering a solo career, began to do some production work of his own with his cousin Bill Miller. Together they bought some studio time at the United Sounds Studio and it was from these sessions that they wrote produced and recorded the recently discovered tracks “Don’t Pop The Question (If You Can’t Take The Answer)” and “Good Guys Don’t Make Good Lovers” amongst others.
Oliver was then invited by an old acquaintance Jerome Barnes to join his group, Oliver initially refused as he was still considering pursuing a solo career. But eventually Jerome persuaded Oliver to change his mind thus Oliver became a member of The Sins Of Satin.
Following three album releases the Sins Of Satin went through a change of both personal and direction at the suggestion of their producer the influential Detroit radio DJ Al “The Perculator” Perkins. Now renamed “Roundtrip “ the group grew to eight members, Jerome Barnes, Oliver Cheatham, Jimmy Johnson, Kenny Jackson, Angelo Loric, Ila Coates, Kim Warren and Sharlo. Perkins plan was to build the group around the lead vocals of Oliver. A further name change followed with the group becoming known as just “Oliver”. During his time with Perkins Oliver’s lesser known trait as a roofer was called upon to repair the studio roof. A skill he had learnt while working with his Uncle in Cleveland during the summer holidays.
Al Perkins in conjunction with his wife Irene ran a stable of several artists under their Perk’s Music Production Company. One such act was the group, One Way who included a multi-talented musician and later producer in his own right Kevin McCord. In collaboration with Kevin McCord Oliver co-wrote what is regarded as his all time signature tune the much covered 1983 dance floor hit “Get Down Saturday Night” which eventually reaching number 37on billboards R&B charts, and remains a popular radio play to this day. In 1985/86 two further Oliver Cheatham releases appeared on the UK based Move label “Mama Said/Look Of Love” (MSS3) and” Turning Point/Play Me Trade Me “ on the Move subsidiary label Champion (MSS6). The “Turning point” release also featured the vocals of Oliver’s daughter Tania. Both Move releases were owned by Vee Allen (aka Velma Perkins sister of Al Perkins) and produced through her Leland production company. Leland is the name of the Town in Mississippi where Vee was born.
Oliver continued to score chart success throughout the remainder of the 1980’s and into the 90’s with such songs of note as “SOS”, “Celebrate Our Love” followed by two duets with Jocelyn Brown “Turn Out The Lights” and “Mind Buster”. Further chart success came in 2003 when Oliver featured as the guest vocalist on Room 5’s UK No1 hit “Make Luv “ which incidentally sampled Oliver’s “Get Down Saturday Night”. Oliver at this juncture was residing in England and had previously recorded a Garage version of the old standard “Our Day Will Come” with the London based band, Native Soul. Oliver’s popularity on the European dance scene means that he’s a frequent visitor to the continent with a huge following in both France and Germany.
The elusive “Hard Times” track is proving to something of a conundrum as it has appeared in several Oliver Cheatham articles but nobody has ever seemed to have seen it. What we do know is the track was recorded thanks to Andy Rix’s acetate. Both Oliver and the records producer George McGregor claim it was released? With George also stating that it featured “ It’s Just Like Magic” on the flip?
So could a previous interviewer have made a typing error writing down Tier instead of T.E.A.I.?
Or were there two T.E.A.I. releases of “It’s Just Like Magic” with different flipsides?
Unfortunately George McGregor is hospitalized at this moment and unable to check his paperwork so the jury will have to remain out on this one for now.
Words by David Welding
Acknowledgements to: Oliver Cheatham, Bill Miller, Anthony Jones (aka A.J.Sparks), Cynthia Girty, Irene Perkins, Vee Allen, Janet Wright and George McGregor.
Photographs: Bob Abrahamian, John Smith, Andrew Whitmore, Craig Lane and Oliver Cheatham.
Label Scans: Bob Abrahamian, Andrew Whitmore, Andrew Rix, Trevor Polnyj and David Welding.
David Bursey: A Soul Journeyman.
David Bursey is yet another one of soul music’s many unsung heroes, a soul journeyman who has spent a life time living the dream of recording a hit record.
David Charles Bursey was born on May 23rd 1943 in the town of Ripley Tennessee. In 1952, David’s family took the well trodden path north in search of a better life eventually settling in Milwaukee Wisconsin. Upon leaving school David worked intermittently in the construction industry during which time he began performing with a street corner group known as the ‘Four Souls’ whose line up also included David’s childhood friend Eddie L. Quinn, Lee Harris and Roosevelt Morgan. No recording were ever made.
In 1967 David met his partner of forty four years, Ruby White. Together Ruby and David raised a family of six daughters. Also around this time David began employment as a Butcher at the United Packing Slaughter House. An occupation that David would eventually leave behind him to pursue a career as a full time performer. During the late 1960’s and early 1970’s David would feature in the line up of several notable Milwaukee harmony groups.
Photo:- James “JB” Young, Centre David Bursey, Right Robert Wardell. Front sitting down Celeste Campbell.
In 1965 David was a founding member of the Candi Bars with Celeste Campbell and James ‘JB’ Young. The group later grew to four members with the addition of Robert Wardell in 1966. Wardell remained with group for a period of circa twelve months before he moved on. The Candi-Bars solitary 45 recording was released during 1968 on their own Candi-Stix label, and was recorded at Tom Gress’s Studio in Milwaukee.The record sold well locally but never broke out nationally. Two presses of the 45 can be found the yellow first issue and a second release on the silver label design. A later reissue can be found on the Gule label. Many of the silver issues can be found with reversed labels. A possible explanation for this could be that on the first yellow issue ‘I Believe In You’ is credited as the A-side (100-A) but the songs master number in the run out groove is (100-B) thus when the record was re-pressed the pressing plant thinking by putting the A-side label with A-side master were doing the right thing ? David can be found as the co-writer along with Celeste Campbell on the ‘Your The One’ side a popular track with sweet soul collectors, while the flipside‘I Believe In You’ became a popular track with the emerging crossover scene in England in the mid 1980’s and remains a current favourite to this day. The Candi -Bars eventually broke up for personal reasons although they all still live in and around Milwaukee and have remained in contact to this day. After they broke up James ‘JB’ Young continued with his day job as a truck driver until his forced retirement due to renal problems. Celeste Campbell who previously to the Candi-Bars had been a member of a three girl high school group turned her back on a performing career choosing to devote her life to raising her daughter.
David joined Gerry Armstead’s group known as the ‘Phases’ and feature on their 1969 release ‘Anything You Wan’na Be/Sing Your Song (Capitol 2684).The group also included Tom Burke (now deceased). Both sides of the Capitol release were composed by Gerry Armstead and Bill ‘Bunky’ Sheppard with ‘Anything You Wan’na Be’ being chosen as the all too familiar X “Bunky’s PICK”. The Phases later broke up due to an alleged contract dispute between Armstead and Sheppard with David and Tom joining Robert Gardner and Clarence ‘Sijo’ McGee to form the group known as the Brothers By Choice. It was at this point David quit his day job at United. The Brothers By Choice headed west to Los Angeles to further their career. The firstly approached Capitol records on the strength of their previous release as the Phases, but Capitol weren’t interested. After a period of three years of no success David, Robert and Clarence later returned to their native Milwaukee, with Tom remaining in L.A eventually being ordained in to the ministry. Clarence then reformed the Brothers By Choice with his brothers Boss and Larry McGee alongside Robert Gardner who went on to record “You Think That I’m A Fool/Can’t You See” for Calgar records (0002) in 1973.
The Brothers By Choice circa 1970: - Tom Burke, Robert Gardner, SiJo Mcgee & David Bursey
Tom Burke, Gerry Armstead & David Bursey.
On his return to Milwaukee, David was invited by his old friend Gilbert Moorer to join the Esquires. During his involvement with the Esquires, David featured as the lead vocalist on the group’s “ Henry Ralph” recording and also as a backing vocalist on the release’s flipside” My Sweet Baby”. For a very long time this was thought to have been a UK only 45 release on John Abbey’s Action label. But eventually US 45 releases began to appear on Hotline records a division of Cutlass Records from Nashville, Tennessee. One would assume that this was part of the same deal that also saw former Esquire Mill Edwards (aka Mill Evans)” I Found Myself/Don’t Forget About Me” gain a Cutlass release.
David continued to perform through the rest of the 1970’s and early 80’s but with a frequent back pain from a injury sustained while working at a Hotel restricting his performances.
In the early 1980’s David and Eddie L. Quinn were joined by Jimmy Taylor and Alvis Moorer of the Esquires to form a group known as “Ice” no recordings were ever released.
. In 1988 David recorded the self penned popular modern soul dance track “Got To Get Away/Rainy Night In Georgia” under the pseudonym of Noah a childhood nickname given to him by his mother.
In 1991 David teamed up with again with former fellow Esquire Sam Pace and Eddie L. Quinn to form a group known as Fairplay. Several tracks were recorded but through lack of finances nothing was ever released. It is from these sessions that we at Soul Junction have taken the funky little dancer “ Don’t Let Our Love Go (vocal and instrumental versions ) for release (SJ517). Fairplay drifted apart for a while before reforming in circa 2006 this time with 5 members David Bursey, Eddie L. Quinn, Joe Hayes, Charles Ross and Chuck Mays. Again this was to be a short lived affair.
Photo:- Sylvester Mackintosh, David Bursey and the late Reverend Eddie L. Quinn
In 2010 David Bursey recorded a solo cd album entitled “If” which can still be found for sale via CD Baby.
David still continues to perform as much as his health permits, as can be seen in his most recent photo taken while on stage at the Milwaukee African World Festival of African Music in 2011.
Acknowledgements to: David Bursey, Ruby White, James “JB” Young, Celeste Campbell and the late Reverend Eddie L. Quinn
Photographs: David Bursey & Ruby White.
Label Scans: David Welding and the Candi-Bars on Gule courtesy of Bob Abrahamian.
Ivy Jo Hunter.
Native Detroiter Ivy Jo Hunter was born Ivy George Hunter on August 28th 1940. As a child his parents sent him to music classes where he learned to play the Trumpet and Euphonium. Which pre-teens saw him perform with the Detroit City Youth Orchestra. Ivy’s mother told her son that being a professional musician was a very unsecure future and persuaded him to take up art at High School. Upon leaving High School Ivy also realized the life of an artist was tough going so he joined the army as an electrical engineer.
After four years in the service Ivy returned to civilian life and decided to follow his first love and become a full time musician. After a stint of working several different clubs Ivy eventually wound up at one of Detroit’s most renowned clubs, The Phelps Lounge. It was a chance meeting there one afternoon that changed Ivy’s life around. Ivy was rehearsing with the clubs resident band and giving them their instructions as he had done many times before, when a guy who was just having an afternoon drink stepped out the audience and introduced himself as Hank Cosby.
Cosby liked what he saw Ivy doing and invited him down to the Motown studios. So in 1963 Ivy Jo Hunter signed four contracts as a writer, producer, artist and artist manager with Motown Records. Cosby was also responsible for introducing Ivy to William “Mickey” Stevenson and thus forming one of Motown’s most accomplished song writing and producing teams of the 60’s.
Ivy’s song writing credits can be found on a multitude of songs that achieved top 100 status both in the USA and throughout the world. Some of the highlights being such timeless classics as the Four Tops “Just Ask The Lonely”, The Spinners “I’ll Always Love You”, The Marvelettes “ I’ll Keep Holding On” and the Martha Reeves & The Vandellas seminal anthem “Dancing In The Street”.
“Dancing In The Street” was initially composed as a ballad but Ivy and Mickey struggled to come up with a suitable title. That was until Marvin Gaye intervened, Marvin was chilling out smoking a cigarette in the studio at the time and was listening in to what the guys were doing. He then made the suggestion to call the song “Dancing In The Street” and to make it a up tempo dance number. Thus in doing so earned himself 25% of the song writing royalties.
While “Dancing In The Street” was recorded as a innocent dance record it also became an unofficial civil rights anthem with many young disillusioned black activists claiming the title was a call to riot. This was vehemently denied by both Martha Reeves and Berry Gordy. Although “Dancing In The Street” is regarded as Martha & The Vandellas signature tune, other Ivy Jo compositions on the Vandellas included the sublime “My Baby Loves Me” and the driving “You’ve Been In Love To Long” (later covered by Barbara Acklin).
Towards the end of his tenure with Motown Ivy was placed with the company’s V.I.P subsidiary. The V.I.P logo had the reputation of being somewhat of a graveyard label for artists and writers who had fallen out of favour with Berry Gordy (even though some of Motown’s finest releases can be found on the label). Here Ivy recorded two 45’s “I Remember When (Dedicated To Beverley) / Sorry Is A Sorry Word (V.I.P 25055) and “I’d Still Love You / I Can Feel The Pain” (V.I.P 25063). An album release was also planned although given a release number (V.I.P.S 406) and a title Ivy Jo’s “In This Bag” no release ever materialized. Ivy was to eventually leave Motown in late 1970.
After leaving Motown Ivy later joined forces with his brother John Maxey (who’s day job was that of a special needs teacher) to form the Independent Detroit based Probe 1 Production Company in 1972. Throughout the 70’s and into the 80’s the brothers continued to produce and record releases on many local Detroit groups, The Citations (five former pupils of John’s) Empulse and North By Northeast amongst others. Most would appear on the labels that Ivy and John operated through Probe1 Productions, Redline, Probe 1 and Midwest International etc
Ivy himself recorded solo outings such as “Ain’t No Black & White In Music / When Does The Loving Start” (Red Line PRL-01) and “ Everytime I See You It’s Hello / Anthem (Midwest 011087) as well as singing lead vocals on North By Northeast’s “Pain Of City Living / Slave Of Society” (Probe 1).
Probe 1 Productions did manage to achieve some limited national attention. Firstly with the mellifluous “Two On A Cloud / Grown Up Fairy Tale” (Buddah 556) recorded by Curt Darin (a.k.a Curtis Gadson) but this release coincided with 20th Century’s buy out of Buddah records and the record failed to make any major impact. Other releases on Gadson (whom Ivy and John actually discovered) included “In The Middle OF The Night” (Midwest International 8150) and the heavily synthesised “Fire It Up” which they released in conjunction with fellow Detroit entrepreneur Ernest Kelley. This was later followed by the song “Hold On To Your Dreams” that Ivy Jo co-wrote with Vernon Bullock. “Hold on To Your Dreams” was recorded on former Dramatics vocalist the late William Howard and was released on the local Detroit Ju-Par label, based on Eight Mile Road. Howard recorded the song under his High School nickname of “Weegee”. The song became a big local hit, and through Ernest Kelley’s long time association with Henry Allen the song was soon picked up by Atlantic records and released on their subsidiary Cottilion label. The deal also included an album release using “Hold On To Your Dreams” as the title track. The album was recorded at the Sound Suite in Detroit under Vernon Bullock’s direction. (“Hold On To Your Dreams” was also later covered by The Staple Singers).
A further collaboration between Probe1 and Ernest Kelley in 1981 produced the disco influenced “Coast To Coast” (MT 9710) which was recorded on a local Detroit act by the name of Solid State. This release came out on the Independent Music Town label. A previous Music Town release by Solid State “I’m Gonna Make You Mine”(MT9709) had no production connections with Probe 1.
1981 also saw the release of the Ivy Jo penned “Love Won’t You Hurry / Open Up Your Mind (To My Mind)” and was recorded by three male singers known as “Suade” this was released on Red Line (101042).
Ivy was to eventually hit paydirt when in 1985, when David Bowie and Mick Jagger covered “Dancing In The Street” as their contribution to the Live Aid Appeal. Incidentally American rock Band Van Halen also covered “Dancing In The Street” some three years earlier.
And so to the present, on Monday, May 21st 2012 Ivy Jo Hunter will be returning to the fore, courtesy of Soul Junction records. With two previously unissued Probe 1 tracks which he cut circa 1979. The songs featured are the wonderful mid paced dancer “See You Around” b/w the sublime ballad “Yea, Yea, Yea” which showcases Ivy’s under appreciated vocal talents to perfection.
The Hopkins Brothers.
The Hopkins family originally came from the town of Bethel, in the state of North Carolina. In 1937 Lyman Hopkins Sr and his wife Roberta together with their children Arthur, Frank, James, Sylvester, Margret and Lyman Jr migrated north and relocating to New Haven, Connecticut, where the surviving family members remain to this day.
The Hopkins family would eventually go on to be one of the most respected musical dynasties of the city of New Haven’s small but vibrant performing scene. The Hopkins brothers and for a while their father Lyman Sr featuring in the line ups of several of the city’s most renowned groups throughout the doo-wop era of the 1950’s and early 60’s.
The Scarlets & Five Satins
The group initially known as the Scarlets were formed by Fred Parris (the group’s lead singer) during his high school days and featured Al Denby, Billy Powers as well as Sylvester Hopkins. In 1953 they enjoyed a local hit in their native town of New Haven, Connecticut with the song entitled “Dear One”. A change of name soon followed with the Scarlet’s becoming the Five Satin’s.
As the Five Satins the group recorded “In the Still Of The Night” for the local Standard label. The song became a hit around the New Haven area and was picked up for national release by Bobby Robinson’s Ember label, eventually going on to become a million seller. Unfortunately by the time the song reached number 3 in the R&B charts and number 25 in the pop charts. Both Fred Parrish and Sylvester Hopkins had been drafted into the Army. During their absence, Bill Baker stepped up to role of lead singer. Where he featured on the Five Satin’s follow up hit “To The Aisle”.
In 1958 upon his return from the army Fred Parris reorganised the Five Satins, this new line up included Richard Freeman, Wes Forbes, Lou Peebles and Sylvester Hopkins. Who recorded the groups last top 30 R&B chart hit “Shadows” in 1959 for Ember Records. In 1960 “In The Still Of The Night” re-entered the pop charts due to airplay on oldies but goodies radio shows and compilation albums. This renewed interested led to another minor hit “I’ll See You Around”. In late 1961 Sylvester Hopkins left the Five Satins.
Fred Parris continued to lead various different incarnations of the Five Satins, Black Satin and The Restless Hearts on releases for the Checker, Atco, Green Sea, Mama Sadie, RCA, Birth Kirshner, Buddah, Electra and S.G. labels right up to the late 1980’s.
The Chestnuts.
The founding line up of the R&B group the Chestnuts included the two Hopkins brothers, Arthur ”Count” Hopkins and Frank Hopkins along with Ruby Whittaker (lead singer) Ruin White and Jimmy Curtis. Their biggest song being “Who Knows Better Than I”. In 1956 the Chestnuts recorded their first release “Love Is True” which also featured the Hopkins brothers father Lyman Hopkins Sr in the line up. In 1957 they recorded their most notable hit “Who Knows You Better” for the Standard label. Other releases followed with their final release “Wobble Shank” appearing on the Coral label. The Chestnuts too broke up in 1961.
The Hopkins Brothers; Left to Right - Frank Hopkins, Sylvester Hopkins & Arthur 'Count' Hopkins
In the late 60’s Sylvester, together with brother’s Arthur and Frank formed the family group known as the Hopkins Brothers. They eventually recorded a solitary 45 release “Kiss Of Fire/Shake Cheri” which appeared on the small custom Magnetik label on February 9th 1970. The brothers financed the project themselves. The record although only ever being released locally did receive some airplay via the WYBC (Yale Broadcasting Co) radio station sadly never gaining any national recognition. The group distributed and sold most of the copies (usually at any concerts they performed at) themselves, and eventually went on to achieve sales in excess of 2000 copies.
In the early 80’s Frank, Sylvester and Arthur all sang with a further re-incarnation of Bill Bakers, Five Satins. Although by the time of the Five Satin’s 1988 Del Cam release “Fool For A Pretty Face” all the Hopkins brothers had left the group.
During 1997 Arthur “Count” Hopkins passed away having lost his battle with prostate cancer.
Currently both Sylvester and Frank have brought the curtain down on their performing careers and are enjoying a well earned retirement.
The official A-side of the Magnetik release “Kiss Of Fire” has always been a popular collector’s item with Sweet Soul aficionado’s but circa 35years on from the records initial release a new audience of funk enthusiast’s picked up on the records more quirky flip side “Shake Cheri” with the songs growing popularity eventually filtering through to the Northern Soul scene.
For upto date information and to hear sound clips of the 45. Release Info: Click Here
David Welding
Acknowledgments:
Acknowledgments to: Sylvester Hopkins And Myke Ross.
Photographs: courtesy of Sylvester Hopkins.
Little Tony Talent, the 12 year old singing sensation.
Little Tony Talent (real name William Anthony Anderson) was born in Philadelphia on February 11th 1954. Tony first began singing as a member of the Hanna Elementary School, glee club.
At the age of 11, Tony through a friend of his mother’s sister (Charlotte) was first introduced to local talent scout and promotion man, Gene Lawson.
Lawson, who at the time was acting as Otis Redding’s publicity agent arranged for Little Tony to open the show for Redding during his first appearance in Philadelphia at the cities Uptown Theatre. Tony backed by Redding’s band captivated the audience with a rousing rendition of James Brown’s “I Feel Good”. Thereafter as part of Redding’s touring show Tony would go on to perform in venues in and around Baltimore and Washington D.C.
In 1966, Lawson introduced his by now 12 year old, singing sensation Little Tony Talent to New York record producer and owner of Sue records Juggy Murray.
Juggy was suitably impressed enough to sign Tony to one of his subsidiary labels, Symbol. Where under the tutelage of producer Jesse Herring Tony recorded “All That’s Good Baby/Your Too Young” (Symbol 218) at the Cameo Parkway studios in Philadelphia.
During the following year, Lawson secured Tony a further recording contract with Vando Records in New York. The Vando label was jointly owned by Van McCoy and Douglas “Jocko” Henderson (With Vando being an amalgamation of both partners Christian names). Here Tony recorded “Gotta Tell Somebody (About My Baby)/Hooked On You” (Vando 3001) both sides where written and produced by McCoy (with both songs also being recorded by fellow Vando artist Chris Bartley).
Sadden by the tragic death of his friend Otis Redding, Gene Lawson took a break from the recording industry for a while (Lawson later returned in 1969 to form the Uplook label). With his mentor now gone Tony’s burgeoning career was bought to a temporary halt.
At this moment in time everybody seemed to want to record harmony groups and after losing out in a few talent shows to such acts Tony decided that the best way forward was to form a group of his own.
So in 1968 with high school friends Alan Williams, Bruce Dunbar and Carl Smith, Tony formed a group known as the “Deltones”.
Although later due to a similarity of names with another Philly harmony group “The Delfonics” a change of name was soon to follow. So in 1969 with the guys choosing a name that they thought was more relevant to the times they were living in, the Deltones became “The Coalitions”. At this juncture Carl Smith left the group to be replaced by the late Dwight Mitchell.
The Coalitions were to record a song written for them by Wilbert Hart of the Delfonics entitled “Freedom” although this was reputedly never released.
Their big break came in 1974 when under the guidance of producer Michael Nise they recorded “Instead … How Are You/I Don’t Mind Doin’ It (Instrumental)” for Leon Dunbar’s local “Re Dun” label. Michael Nise was later responsible for taking “Instead… How Are You to Jamie/Guyden who picked up the release for national distribution on their Phil. LA Of Soul label (367).The Coalitions hit the road, touring the chitlin circuit to help promote their release. A second release (371) of “Instead … How Are You” was issued in early 1975 this time dropping the instrumental flipside in favour of a vocal outing “Later Than You Think”.
The highlight of this period for the group was being invited to open a concert in Philadelphia for The Jackson Five.
After the Phil. LA Of Soul adventure closed The Coalition entered a barren period recording wise during which time Bruce Dunbar left the group. His position would later be filled by Bruce Fauntleroy, with a fifth member Stephen Ferguson also joining the group.
In circa 1980 with the group line up of Tony Anderson (Talent), Alan Williams, Bruce Fauntleroy, Milton Williams and Stephen Ferguson the Coalitions embarked on a vanity project to record the “Colour Me Blue” album. Although the project was completed, due to lack of finance the finished product was never issued.
In 1982 Tony married Carmen raising their two children Antoinina and Laquia. Tony also has three other children Tony Jr, Shasaree and Shamia (now deceased) from a previous relationship.
It was at this point that Tony turned his back on a career as a full time performer to pursue a new career in the Banking Industry. He currently is in the employ of the Citizens Bank in Philadelphia (the U.S subsidiary of Royal Bank of Scotland).
Following a decade of inactivity Tony rediscovered his passion to perform once again. So in 1995 under the new group name of “Ol’ Heads” Tony with former Coalition members Alan Williams and Bruce Fauntleroy and additional member Alfonso Smith recorded the “Before You Go” album.
The Late Donald Murphy was the producer on the “Before You Go “project. He also featured as a songwriter on the project along with Marty Sutton. The album was recorded at Gerald Levert’s “Trevel” studio in Cleveland Ohio.
A further name change and album project followed in 2003 when under the pseudonym of “The Rheel Menn” the group recorded the “Keepin’ It Rheel” album.
The group had by now grown to six members with Tony McFarland and Leonard Deans (both former members of the group, Maximum Level) joining Tony Anderson (Talent), Bruce Fauntleroy, Alan Williams and Milton Williams (who later left the group).
Returning to the previously mentioned “Colour Me Blue” unissued album. After lying dormant in the can for circa 30 years it was recently rescued from obscurity by Soul Junction’s Philadelphia A&R representative, Charles Anderson.
For upto date information and to hear sound clips of the 45. Release Info: Click Here
David Welding
Acknowledgments:
Photographs: courtesy of Tony Anderson (Talent)
Little Tony Talent “All That’s Good Baby” label Scan courtesy of Mark Dobson
Coalitions “Instead…How Are You” label scan courtesy of: Steve Guarnori
Sammy Solo.
Sam E. Solo was born Samuel Flournoy Jr on the 13th of July 1942 in Shreveport Louisiana, to parents Samuel and Ona Lee Flournoy. While still a babe in arms Sam’s family moved to Flint Michigan. As many other southern families had done prior to and after them seeking a better life in the more industrial cities of the north.
Sam’s grandfather Isaac Epps a carpenter by trade and an ordained minister had moved north a year earlier taking up residence in Flint and it was he who the family first lived with until Sam’s father found work at General Motors.
From the age of 8 until he was 16 Sam honed his voice at his grandfather’s church.
But like most teenagers he became more intrigued with secular music eventually joining an R &B group known as the “Royal Lovers”.
The Royal Lovers became a popular act around their local neighbourhood and this was to lead to a potential lucky break for Sam. When big band leader Big Jay McNeely who was in town visiting his Sister heard the group perform. McNeely persuaded Sam to join his band with the promise of a recording contract and a performing tour of Texas. So Sam headed south to live with his half sister Mary Lee Forest in Houston, Texas. Mary Lee would act as Sam’s chaperone due to him being under age of 21.
While in Houston Sam did get to audition for Don Robey’s Peacock label but no recording deal ever materialised. Though Robey was suitably impressed enough to sign Sam as the opening act for several of his revue’s which featured acts such as Bobby (Blue) Bland, Lowell Fulsom, Little Junior Parker and Etta James amongst others.
Upon reaching the age of 18 Sam decided to return to Flint where he rejoined the “Royal Lovers”. The next significant figure in Sam’s career was Al Bennett
Bennett offered to manage Sam and it he who introduced Sam to radio DJ Fred Garrett, who later arranged a recording session for Sam at the One-derful studios in Chicago. Although three tracks were recorded none were ever thought to have gained a release. Sam remembers the title of one of the tracks as being “Hey, Hey Pretty Baby “.
Bennett did eventually get Sam a recording contract with a local Flint label owner, by the name of James Wheeler. Sam recorded a solitary release for Wheeler records under the name of Little Sammy & The Wheelettes “Tell The Truth Jackie/Goodbye My Love” .
This too was to be short lived affair when one of the Wheelettes an all girl threesome became emotionally involved with a local pimp who during an argument shot her dead.
Sam’s next return to the recording studio came in 1966 when Al Bennett introduced him to Bob Schwartz the owner of Ruby Records.
It was During his time with Ruby that Sam cut his best remembered release, the excellent double sided” Tears Keep Falling/Love Is Not A Game” (Ruby 5075).
Recorded under the tutelage of the Pied Piper Production team and featuring the all girl group, The Wonderettes of “I Feel Strange”, fame on backing vocals. This would be the first and last time that Sam would meet the girls. Incidentally Sam was blissfully unaware that “Tears keep Falling” had gained a release on the major United Artists distributed Imperial label, (that was until I mentioned it 44 years later). The deal with UA/ Imperial was most probably arranged through Bob Schwartz who operated as a record distributorship at the time.
Sam’s follow up release was a cover version of a Amos Milburn song,”Bad, Bad Whisky/Baby, Baby (Ruby 5090).This time under the stage name of Sammy Soulo. The Rudy label eventually closed down and with it so did Sam’s recording career for the foreseeable future.
Sam continued to perform on the supper club and chitlin circuit with several different groups the likes of Jim Taylor’s Flipside. At one point he replaced Bobby Taylor (of the Vancouver’s) as the front man for Good Rockin’ Brown and the Soul Brothers on a tour of Alaska and Las Vegas. Sam also appeared on the local Detroit TV show “Club1270” and later went up to Canada to perform on the “Swingtime” show.
As the 70’s dawned although still continuing to perform Sam took a day job as a truck driver, an occupation he continued on a full time basis until his 65th birthday, he still gets behind the wheel of a truck today but only to help out on a part time basis at a friend’s haulage company, Walker Transport.
In 2008 Sam joined the Ministry and now goes under the title of the Reverend Sam E. Solo. Together with his old friends, brothers Eddie and Reggie Garland formerly of the local Detroit groups, the 21st Generation and the Perfections (Ultra and Tri-city respectively) they collaborated on the “Peace Angel” Gospel cd album project.
The album contains four tracks recorded by Sammy “Through Me” ( a recent popular play with radio jocks in the Carolina’s), A Place Called Calvary”, Can’t Nobody Do Me Like Jesus” and I’ll Never Let You Down”. The remainder of the cd features songs by the Garland Brothers and Betty Maker.
David Welding
With acknowledgments to the Reverend Sam E. Solo and Jerome Cunningham
Photographs courtesy of the Reverend Sam E. Solo.
Hermon Weems Obituary.
Native Detroiter Hermon Weems was born on February 21st 1938. He began his musical career as a teenage member of a street corner group known as The Sparrows during the early 50’s.
The groups other members were Al Hamilton, Charles Harris, Paul Leslie and Phil Townsend. The Sparrows were regular performers on the city wide talent show circuit, with their biggest night coming with their appearance at the city recreation centre on Davison. Where they appeared on the same bill as, Clyde McPhatter, Jackie Wilson and Sam Cooke.
Hermon along with the Hamilton Brothers, Bob, Al (Kent) and Ronnie (Savoy) later went on to work for Anna records. That was until Berry Gordy later released them from his employment. Undeterred, the foursome soon hooked up with local Detroit entrepreneur Ed Wingate. Where they went on to play integral part in the success of the Golden World, Wingate, and Ric Tic record labels.
Hermon’s song writing credits can be found on such classic recordings as Al Kent’s “The Way You Been Acting Lately” and ”You’ve Got To Pay The Price” as well as many other Ric Tic releases by the Detroit Emeralds and the Fantastic Four.
Such was the quality of the releases emanating from the Golden World studios that they soon became serious rivals to Gordy’s Motown Corporation. After several failed attempts Gordy eventually made Ed Wingate an offer he couldn’t refuse and eventually bought out the Golden World and Ric Tic studios.
Hermon now found himself working for Gordy for a second time. Hermon’s talents extended further than just that of a musician he was a talented artist and soon found himself working in the art department at Motown. With some of his most accomplished works being the covers for the Temptation’s “Psychedelic Shack” and “Cloud Nine” albums.
In 1972 Hermon composed the in demand “Why Can’t There Be Love” for Detroit soulstress Dee Edwards which would to go on to be a local hit around Detroit, gaining a release on two separate labels, BumpShop and GM respectively and was produced by Dee’s husband Floyd Jones. “Why Can’t There Be Love” also gained a release in many European countries, and now 38 years later, it is once again, back in vogue, as the soundtrack for a Adidas trainers advertisement.
In 1975 Hermon joined forces with Evans Clark and his old friend J.J Barnes to compose the sublime “I Think I’ve Got A Good Chance” which they recorded on J.J and released on their own independent Organic label.
During the 80’s, Hermon was the victim of a armed robbery at his home and was shot several times. All the bullets were removed except one which periodically caused Hermon to be laid up when it rubbed against a certain nerve. Hermon later diversified his talents as a artist into the occupation of a sign writer to find work during leaner times in the music business.
In 2005 Hermon was once again re-united with his childhood friend and former Sparrow Phil Townsend. Phil had song writing credits on the Little Foxes “Love made To order” (Okeh) and Ortheia Barnes “Heartbreaker, Soulshaker” (Coral).Phil later became more involved within the promotion side of the business before leaving the recording industry altogether to become a car salesman. At the age of 62, Phil once again returned to the recording studio, to cut a tribute cd album which he dedicated to black womanhood entitled “Beautiful Black Lady”, and it was to Hermon that Phil turned, to design the album cover.
A further recording project followed in 2006, with Hermon co-writing and producing Bruce Jackson on the soul ballad “Does Your Mother Know About Me” a whole album was recorded but was reputedly lost in the unforeseen closure of the pressing plant prior to manufacture.
Hermon a diagnosed diabetic, sadly passed away on the evening of June 27th 2010 due to complications that followed an operation to remove an eye and amputate one of his legs.
His funeral service was held on Saturday 3rd July at 11.00 am at the Barksdale Funeral Home on 11/20 East State Fair, Detroit. With his final resting place being the Metropolitan Memorial Garden cemetery, 48/300 Willow Road, Belleville, Michigan.
David Welding
With acknowledgements to: Don Mancha, Pete Mashaw. And the personal memoir’s of Hermon himself.
Stanley Mitchell. 1935 - 2006.
Stanley Rudolph Mitchell was born February 10th 1935 in Detroit Michigan.
He was the only boy and the youngest of the four children raised by Mr and Mrs Louie Mitchell. As with so many of his generation his earliest musical influences came from the church. At the Russell St Baptist Church, the Mitchell family’s place of worship, Stanley along with his sisters performed regularly as a gospel quartet.
Upon graduation from Highland Park High School in 1955, Stanley joined his first group the Cherokons. Through regular performances at local talent shows
Of which they won their fare share the group was eventually brought to the attention of Lionel Hampton. Under the auspices of Hampton the group changed their name to the Hamptones.
In 1957 Stanley left the Hamptones to form his own group, Stanley Mitchell & the Tornados. Whilst performing throughout the Detroit metropolitan they were discovered by Alonzo Tucker (the then manager of one Detroit’s hottest Rnb groups the Midnighters). Through Tucker Stanley & the Tornados were eventually introduced to Phil Chess the group released their debut single the same year, “Four O’clock In The Morning/Would You. Could You” Chess (1649) reaching #5 in the Billboard charts.
The success of “Four O’clock” etc would keep the group in regular employment for the next two years. Until in 1959 when now known as the Tornadoes they recorded their second release for the local Detroit based Bumble Bee label, “Love In Your Life/ Geni In The Jug”(503). This was to be their last release together as Stanley left the group to join Billy Ward & the Dominos, replacing Jackie Wilson. Although this was to be a short lived affair Stanley did stay involved long enough to appear on the Ed Sullivan Show.
As the 60’s dawned Stanley by now performing as a solo artist was invited to New York by End label owner, George Goldner.
Goldner had a song in mind for Stanley entitled “Up On The Roof”, unfortunately for Stanley his flight was delayed for a few days due to bad weather so Goldner decided to record the song on the Drifters instead.
Stanley did eventually arrive in New York and Goldner did get to record a song on him, cutting “Devil In Disguise/ Loving Man” which appeared on Goldners Gone label (5106).
Upon his return to Detroit Stanley continued to work as a solo artist only once considering the merits of a regular day job to help support his two children son Stanley Jr and daughter Mary. A two week interlude with the Chrysler Motor Company soon saw him return to the life of an entertainer.
Between gigs Stanley found employment as a session singer with Motown, and Gino Washington’s Atac label amongst others. In 1966 Stanley joined veteran Detroit group the Royal Jokers replacing Willie Jones. Although he wasn’t present on the groups Wingate release “Love Games (from A-Z)”.
In 1968 again working as a solo artist Stanley was recruited by legendary songwriter/producer Richard “Popcorn” Wylie. This liaison would produce Stanley’s most revered recording in the UK when he recorded the quintessential northern soul classic “Quit Twistin’ My Arm/Get It Baby” Dynamo (111).
Although recorded in Detroit Popcorn felt the song had great potential to a wider market. At the time Popcorn was part of the team of Detroit songwriters/producers charged with reviving the career of the hit recording group the Platters. The Platters at the time were signed to the New York based Musicor label. Popcorn through this association persuaded Musicor to licence the song from him, Musicor however chose to release the song on their Dynamo subsidiary. Although sales figures of reputedly 12,000 copies have been mentioned the record was to fade into obscurity.
Salvation did come some years later albeit from foreign shores, when the records official B side “Get It Baby” caught the imagination of the dancers within the UK northern soul scene.
“Get It Baby” was only ever intended as a B side to the vocally superior “Quit Twistin’ My Arm” with Popcorn asking Stanley to overdub a few sparse lyrics
over a backing track incidentally, Stanley never sings “Get It Baby” throughout the entire recording. Circa 30 years on and both sides of his solitary Dynamo release are as popular today as they were at their inception.
Meanwhile in the Detroit of the 1970’s Stanley Mitchell unaware of his new found popularity across the Atlantic had formed a new group, known as Stanley Mitchell & the Peoples Choice (no connection with the group that recorded for the Palmer label) who performed with a more disco orientated sound, they stayed together until the mid 90’s.
Stanley once again a solo artist continued to perform becoming more involved in the field of Gospel music. In 2000 Stanley was approached by veteran Detroit drummer/manager R.J. Spangler to join him, amongst others, in a project called the Motorcity Rhythm & Blues Pioneers. As a member of an eight piece band Stanley recorded a cd of 50’s RnB standards which was released on the Blue Suit label, securing him and his fellow Pioneers a European tour.
In later life Stanley found out that he had another child, so after some 37 years apart in 2004 daughter Dorece was reunited with her father. Stanley also belatedly found out about the popularity of his Dynamo single in England, and from hearing about the reception given to other artists who had visited these shores he too wanted to come over. This dream was almost about to come true, negotiations had been conducted and contracts signed, Stanley was booked to appear at the March Prestatyn Weekender 2007. But cruelly fate intervened when at 3.30 am in the morning of Saturday October 14th 2006 Stanley suddenly died from a heart attack, aged 71. He had been experiencing heart problems for sometime but never spoke much about them preferring to continue to entertain right up to the end.
His funeral service was aptly held in the same church where as a boy Stanley honed his skills as a performer the Russell St Baptist Church on Friday October 20th 2006. Stanley Mitchell rest in peace.
David Welding.
Acknowledgements to the late Stanley Mitchell and his Family. Richard Wylie and Ernest Kelley.