| Author | Message | ||
  Robb_K (robb_k) 4-Laureate Username: robb_k Post Number: 80 Registered: 4-2004 Posted From: 204.108.65.10 |
This is a spin-off from the Debs' thread, which got into Robert Bateman (Correc-Tone's A&R man) and his move from Detroit to New York. That move was around the time of Correc-Tone making a distribution deal with Atlantic Records. I've always wondered just what the connection was; exactly when Bateman had his complete production operations in NY, and exactly how Wilson Pickett ended up on Atlantic. The late Correc-Tone products, in late 1963 and 1964, ended up being distributed by Atlantic. Theresa Lindsey's last two Correc-Tone records, and The Herman Griffin -produced Moments on Hit Productions (Hit) were pressed on NY Atlantic pressings and distributed by Atlantic, as Wilson Pickett's last Correc-Tone productions were on Atlantic (before they started recording him in Memphis. Was Golden still involved, or did Bateman just broker a deal between him and Atlantic? After that, Bateman operated as an independent producer in New York, getting label logo and distribution deals with various different labels, including Smash, Phillips, DCP, Double-L,Sue, Oldtown and others. He started writing together with some NY writers: Drake Hollan and Ronald Mosely. Those productions used mainly (if not exclusively) NY musicians and arrangers, and yet kept a sound similar to that he had produced at Motown and Correc-Tone while working in Detroit. | ||
Tony Russi (tony_russi) 2-Debutant Username: tony_russi Post Number: 30 Registered: 4-2004 Posted From: 68.210.9.177 |
Robert Bateman produced Mary Wells "Ain't It The Truth" in '64, her first away from Motown.I wonder if he was a part of those who encouraged her to exit Motown? | ||
Robb_K (robb_k) 4-Laureate Username: robb_k Post Number: 83 Registered: 4-2004 Posted From: 66.81.195.45 |
I don't think it worked that way. Her husband, at that time, Herman Griffin was the main force encouraging her to leave. Robert Bateman had left Motown in 1962, to become A&R man for Wilbur Golden's Correc-Tone label. He was already in NY in early 1964, when Griffin was telling Mary to demand a lot more money in her next Motown contract, and threaten to leave. Griffin was never given much consideration from Motown, and in 1963, he left, to join Bateman at Correc-Tone. Mary had worked with Bateman at Motown, and knew him more through his association with her husband through their association at Correc-Tone. Even though Mary was already divorced from Griffin when she hooked up with Bateman, it was natural that she should gravitate to him, as he was a proven ex-Motown producer, whom she was friendly and comfortable with, working in New York, where her new label (20th Century Fox) had its headquarters). I wouldn't have guessed that he would have thought it his business to advise Mary to leave her successful run at Motown. But, as an independent producer, he might have offered to producer her, should she decide (on her own) to go elswhere. | ||
acooolcat (acooolcat) 3-Pundit Username: acooolcat Post Number: 38 Registered: 4-2004 Posted From: 210.200.105.227 |
Robb The answer isn't as simple as you might imagine. Robert Bateman told me that he, Wilbert Golden and Wilson Picket didn't know what each other was doing: Robert was lining up deals, so was Mr. Golden, and so was Pickett. When I interviewed Mr. Golden he basically confirmed it - as you know, the music business wasn't run like an accountancy firm. | ||
Nikki (45rpmgal) 2-Debutant Username: 45rpmgal Post Number: 23 Registered: 4-2004 Posted From: 65.206.46.218 |
Graham & everyone, I posted RA files of the Debs 45 (both sides) on the Debs Double L thread. I think when you hear it someone will be able to figure out some of the missing clues. Nikki | ||
acooolcat (acooolcat) 3-Pundit Username: acooolcat Post Number: 39 Registered: 4-2004 Posted From: 210.200.105.227 |
Hi Nikki Yes, I listened to those files - thanks. I think they sound NY-ish. How do you file your 45s? | ||
Robb_K (robb_k) 4-Laureate Username: robb_k Post Number: 85 Registered: 4-2004 Posted From: 66.81.194.139 |
Graham, I know you've heard the Herman Griffin on Double-L, produced by Bateman. That was put out at the same time Griffin was working for Correc-Tone with Golden, producing Ruby Yates and The Moments on Hit Productions/Hit. I believe that one was directly related to Correc-Tone, and recorded at 8912 Grand Blvd. in Detroit (but not sure). Have you heard the Buddy Lamp, Johnny Dunn records on Double-L? Although they sound very "Detroitish" to me, I wonder if they were recorded in NY or Detroit? You've heard the Fred Bridges on New York's Versatile label, produced by Bateman. Was that a Correc-Tone production from Detroit. It was from 1962, when Bateman was still working at Correc-Tone studios in Detroit. Did they just lease it to a NY label, like the Brent/Time records? That sounds like the '62 Detroit Correc-Tone recordings. Does anyone know of any other Bateman produced Double-L records? | ||
Robb_K (robb_k) 4-Laureate Username: robb_k Post Number: 87 Registered: 4-2004 Posted From: 66.81.18.128 |
Grahame: Please let me know what you know about how Correc-Tone operated in 1962, and 1963 and 1964, and the move of some operations to NY. As I can best deduce, Wilbert Golden decided that the best way to get national distribution for his songs was to set up an operation in NY to have better access to "The Majors", to form those distribution deals. So, he sent his A&R man, Bob Bateman, to set up an office in NY. Bateman produced records there; possibly first taking Detroit productions there and shopping them, and later, recording both tracks AND vocals there in NY. Is that accurate? | ||
acooolcat (acooolcat) 3-Pundit Username: acooolcat Post Number: 40 Registered: 4-2004 Posted From: 210.200.105.225 |
Hi Robb I think Correc-tone is best descibed as an umbrella - and there was a lot going on under it. Fred Bridges' 45 on Versatile was recorded in Detroit, but I forget which studio; it wasn't Correc-tone. I remember asking Robert about a 45 on the Hurdy Gurdy label - inquiring if it was a New York or Detroit label, and he told me it was a New York one. I asked him where the track was cut - and he said Detroit. I then asked about the vocals - and was told they were done in Detroit too. So I asked him why he said it was a NY label, and he said because that's where he was when the 45 was released. If you work it out, let me know (smile). He seemed to be moving from NY to Detroit a lot. I don't think I've heard the Johnny Dunn 45; probably the Buddy Lamp, but it's been a while. Robert drifted away from Correc-tone quite early as Mr. Golden was seriously short of cash, and Robert could do his own wheeling and dealing. There seemed to be a revolving door at Grand River; just look at some of the names on the recod labels - Tony Clark, William Weatherspoon, Popcorn Wylie, Ron Davis, William Harbert. Nobody seemed to stick around. Willie Kendrick was about to sign for Correc-tone when Ed Wingate came into the studio - and the next day Willie flew to New York and started choosing his Golden World songs. Stewart Ames' J&W 45 was done at Correc-tone. There's a book's worth of info on this label - which is one of my favorites. Robert said he was working on one when I last saw him; I'd like to know how he's getting on. | ||
acooolcat (acooolcat) 3-Pundit Username: acooolcat Post Number: 42 Registered: 4-2004 Posted From: 210.200.105.227 |
Robb, Just a couple of other bits - Pickett funded his Double-L album, and Laura Johnson paid for her session out of her own pocket too - which ended up on Brent. | ||
Robb_K (robb_k) 4-Laureate Username: robb_k Post Number: 91 Registered: 4-2004 Posted From: 66.81.201.66 |
The Fred Bridges record was produced by Robert Bateman and a guy named Rucker. But it was in mid 1962, at the time bateman was A&R man at Correc-Tone, and still in Detroit. Was this a moonlighting job by Bateman, - taking it to United, or elsewhere, without Golden's knowledge? Or was his original deal with Golden non-exclusive? You also could have mentioned Sonny Sanders, Vernon Williams, Nikki Todd (who is supposed to have been Janie Bradford moonlighting), Don Juan Mancha, Emanuel Laskey, Richard Drapkin, Bobby Williams, Don Revels, Louise Thrasher, Herschel Hunter, Herman Griffin among others. Something equivalent to the talent pool at Thelma, but it wasn't as concentrated, and they didn't stay together as long. | ||
acooolcat (acooolcat) 3-Pundit Username: acooolcat Post Number: 43 Registered: 4-2004 Posted From: 210.200.105.225 |
I guess you could call it moonlighting, but that sounds a bit sneaky; Robert was simply pursuing a goal and there were lots of opportunities in Detroit. Everyone was making different deals, and as I said, Mr. Golden was short of money; that's why some Correc-tone recordings ended up on other labels. | ||
mel(andthensome) (mel) 4-Laureate Username: mel Post Number: 72 Registered: 4-2004 Posted From: 81.152.20.64 |
Apart from all the rarer 45s on the Correc-tone label and apologies if it has been mentioned above, I always liked the Theresa Lindsey track on number 5841 titled 'sugar mountain'. as well as everything else cut on the logo. just a lil' old forgotten track in my opinion. in-corr-ect-mel | ||
Lady Mystique (ladymystique) 5-Doyen Username: ladymystique Post Number: 193 Registered: 4-2004 Posted From: 66.33.227.122 |
Didn't he produce hits for the Marvelettes also? | ||
Robb_K (robb_k) 4-Laureate Username: robb_k Post Number: 92 Registered: 4-2004 Posted From: 66.81.24.227 |
Yes, Robert Bateman produced a lot of records while with Motown from late 1960 to early 1962, during thae later part of the Satintones time at Motown, and a bit after they broke up. He also went under the name of "Brianbert", which, I believe originally stood for the team of Bateman and Brian Holland. He produced The Marvelettes, Satintones, Mary Wells, Freddie Gorman and a few others. It seems that he and Sonny Sanders, Vernon Williams, Sammy Mack of The Satintones (as well as Popcorn Wylie) left Motown in early 1962, to join Wilburt Golden's Correc-Tone Records. Williams, Mack and a couple other ex-Satintones formed a new group, The Pyramids, who continued to record. Bateman became Correc-Tone's A&R man, and a prolific producer. Sanders became an arranger,and writer, and Wylie a producer and writer. | ||
acooolcat (acooolcat) 3-Pundit Username: acooolcat Post Number: 46 Registered: 4-2004 Posted From: 203.69.208.9 |
Lady Mystique The Pyramids recorded an answer song to The Marvellettes' "Playboy" that was released on Sonbert (a Correc-tone label named after SONny and RoBERT) called "I'm The Playboy" - a great song. | ||
David Meikle (david_meikle) 4-Laureate Username: david_meikle Post Number: 87 Registered: 3-2004 Posted From: 80.58.38.235 |
Fred Bridges took me to the site of his "Smile" recording. It was in a garage type wooden building just a few hundred yards from Hitsville. The product was polished off on Woodward Avenue then ended up in NYC. | ||
Robb_K (robb_k) 4-Laureate Username: robb_k Post Number: 94 Registered: 4-2004 Posted From: 204.108.65.10 |
David: Did Fred tell you who else was involved in the production (other than Robert Bateman)? was Sonny Sanders involved? Willy Harbert? Who did the arranging? Do you know who "Rucker " was? Were the musicians "The Funk Bros."? | ||
Nikki (45rpmgal) 2-Debutant Username: 45rpmgal Post Number: 24 Registered: 4-2004 Posted From: 65.206.46.218 |
Graham & Robb, You both never cease to amaze me how much information and how many details you both know about this kind of stuff! One tiny thing, Robb - Sammy Mack was never a part of the Pyramids. For a list of group members and any other info about the Pyramids, go to our Pyramids page at: http://members.aol.com/rnbtrai n/NEW1.htm Let's also not forget (speaking of the Satintones members) that Chico Leverett also wrote/produced many of the Satintones songs, as well as some for the Originals, Emanual Laskey, the Dells & others. For more info, check out out Satintones pages at: http://members.aol.com/rnbtrai n/NEW1A.htm Graham, to answer your earlier question on how do I file my records-----I file my R&B, doowop,& soul alphabetically by artist (groups are in one section of boxes, and "single" (or solo) artists are in another section of boxes. If the group has a member name plus group name (for example - Earl Lewis & the Channels), I file it under group (Channels). I try to obtain information about the lesser known artists and labels BEFORE putting them in my data bass and before filing them! Thus, I wanted info on the Debs whom I am not at all familiar with. Anyone else here listen to the RA files I posted? Thanks again to everyone who posted information. Nikki | ||
Robb_K (robb_k) 4-Laureate Username: robb_k Post Number: 96 Registered: 4-2004 Posted From: 204.108.65.10 |
Nikki: Sammy Mack may not have joined the Pyramids-but then, he worked at Correc-Tone, writing with bateman and Sonny Sanders for The Pyramids - OR, the songs with his name as writer were written by The satintones while still at Motown, but, somehow hadn't been published by Jobete. then Bateman took them along with him to Correc-Tone. Bateman, Mack, Sanders wrote several Brianbert songs that were recorded by Correc-Tone artists. | ||
Davie Gordon (davie_gordon) 2-Debutant Username: davie_gordon Post Number: 20 Registered: 4-2004 Posted From: 213.18.222.34 |
Robb, "as Wilson Pickett's last Correc-Tone productions were on Atlantic (before they started recording him in Memphis." What recordings do you mean ? When Wilson joined Atlantic after leaving DoubleL his sessions were held in New York. Atlantic 2233 (06/64) I'm Gonna Cry (Wilson Pickett,Don Covay) For Better Or Worse (Wilson Pickett,Don Juan Mancha) Prod : not credited (Bert Berns ?) rec. New York, May 12,1964 United Studios [I can't say I'm familiar with a United Studio in New York but that's the info. from Atlantic] Atlantic 2271 (01/65) Come Home Baby (Barry Mann,Cynthia Weil) Take A Little Love (Wilson Pickett) Prod : Bert Berns rec. New York, Nov 13,1964 (Atlantic Studios?) [there was another track cut at this session "Teardrops Will Fall" which was eventually released (09/65) on the "In The Midnight Hour" album. His next session (May 12,65) was the Memphis session at which "Midnight Hour" was recorded. Info. is from the booklet for the CD reissue of the "In The Midnight Hour" album. As far as I can see none of his Correc-Tone material ever ended up on Atlantic. There's a Falcons' single on Atlantic that Wilson sang lead on but that came via Robert West / LuPine rather than Correc-Tone. Davie | ||
Robb_K (robb_k) 4-Laureate Username: robb_k Post Number: 102 Registered: 4-2004 Posted From: 204.108.65.10 |
I meant "For Better Or Worse". I knew it was published by Correc-Tone Music, and Don Juan Mancha was involved. I thought Bateman produced it, and that the BG tracks may have been laid down in Detroit. After finding out Bateman had moved to NY long before, and that he also had all the BG tracks recorded in NY, too, I knew that my assumptions were incorrect. Finding out those sorts of things was the whole purpose of my starting this thread. | ||
acooolcat (acooolcat) 3-Pundit Username: acooolcat Post Number: 51 Registered: 4-2004 Posted From: 210.200.105.225 |
Some copies of Theresa Lindsey's record "Gotta Find a Way" were distributed by Atlantic. They have a plain colored label, as opposed to the blue/yellow one of the familiar (early) Correc-tone releases. | ||
acooolcat (acooolcat) 3-Pundit Username: acooolcat Post Number: 53 Registered: 4-2004 Posted From: 210.200.105.226 |
I see that my copy of Theresa's "Sugar Mountain" was distributed by Atlantic; Correc-tone #5841. Davie - remember we discussed Quinton Kimble a few months ago - well he co-wrote both sides of this 45. | ||
Robb_K (robb_k) 4-Laureate Username: robb_k Post Number: 104 Registered: 4-2004 Posted From: 204.108.65.10 |
Yes, Graham, Bateman had a production deal with Atlantic, that brought some artists to Atlantic for distribution rights; and for some, Atlantic label deals, and music publishing rights (Atlantic's Cotillion Music). I assume that Wilson Pickett came to Atlantic as part of that overall deal. Herman Griffin, who had been working with Bateman at Correc-Tone, apparently was also brought into the deal by Bateman, as his production of The Moments' "Happiest Man In The Land" on Hit Records, was then pressed as Hit Productions Records and distributed by Atlantic, with an Atlantic subsidiary-style label design (as were the last 2 Correc-Tone records). | ||
acooolcat (acooolcat) 3-Pundit Username: acooolcat Post Number: 55 Registered: 4-2004 Posted From: 210.200.105.227 |
Robb, I have the last two 45s on Correc-tone as: #1052 - Danny Woods - You Had Me Fooled #1053 - Theresa Lindsey - It's Love I don't think either of these were distributed by Atlantic. Theresa once told me she was "signed with Atlantic" but I never really understood what she meant. She went to NY and recorded one of her Correc-tone 45s there; but she wasn't sure which one. My guess is it's "It's Love" as it's a Van McCoy job, produced by Golden-Hoffman. | ||
Lady Mystique (ladymystique) 5-Doyen Username: ladymystique Post Number: 259 Registered: 4-2004 Posted From: 216.222.243.111 |
Robb and cat...thanks! | ||
acooolcat (acooolcat) 3-Pundit Username: acooolcat Post Number: 56 Registered: 4-2004 Posted From: 210.200.105.227 |
In July '62 the Michigan Chronicle reported that Marva Josie was in Detroit (from NY) to make a recording for Correc-tone - obviously her Time label release, "Later For You Baby/You Lied." | ||
Robb_K (robb_k) 4-Laureate Username: robb_k Post Number: 106 Registered: 4-2004 Posted From: 66.81.194.216 |
So, Correc-Tone's 1050 series was LATER than the two that were distributed by Atlantic. You're correct, they were NOT distributed by Atlantic. Then, we can aaaume that Atlantic didn't renew the very short distribution deal, and Golden later came up with enough money to again finance not only recording, but pressing up more records, and distributing them out of Detroit. Atlantic had gotten what they wanted from Bateman,- signing Wilson Pickett. When Theresa Lindsey's "Woderful One" (produced in Detroit) was picked up by Atlantic for distribution, they probably signed a distribution deal for a minimum of two records (with an option for more). They may have signed her to a two-record artist deal aas well. As the second record of that deal ("Sugar Mountain") hadn't been recorded yet,-perhaps they recorded those two cuts in NY? I doubt that "It's Love" was recorded in NY, as Dale Warren arranged it, and it was produced by Golden. I think they just "borrowed" a Van McCoy song. If they had come to NY for Van to "oversee" the session, BOTH SIDES of the record would have been PRODUCED by Van McCoy, as always occurred in such situations. He always got producer credit on the labels in those situations. The other side of "It's Love" was a Detroit song and production arranged by Sonny Sanders. I believe that the recordings on both sides of Correc-Tone 1053 sound too much like the regular Detroit session players for me to imagine they were recorded in NY. Theresa said that Atlantic had signed her, and brought her to NY to record one RECORD, not one SONG! To me, "Sugar Mountain" and "Why Oh Why" sound a lot less "Detroitish"-and more likely to have been recorded in NY, than "It's Love". It appears that Atlantic planned to test Theresa's marketability out on "Wonderful One" and "Sugar Mountain", and if she did well, take the option on her, and possibly put her on the Atlantic label after that (as they did with Wilson Pickett). When Theresa's records didn't do much, they didn't pick up the option. Perhaps Golden and or Bateman would have had a cut in the new deal. So, after Atlantic chose not to take the option on Theresa's follow-up records, Golden recorded her again, and distributed it himself (mainly in The Midwest)? She went from there to Golden World, Solid Hitbound (writing, and recording, but no releases), and then Magic City (as Thelma Lindsey). | ||
acooolcat (acooolcat) 3-Pundit Username: acooolcat Post Number: 57 Registered: 4-2004 Posted From: 210.200.105.225 |
Hi Robb There's a lot of conjecture in that post! (smile). With Correc-tone using RCA's matrix numbers as label numbers you can't simply put them in a logical numerical sequence to get a chronological order of the label's releases - you also have to look at the RCA letters used for various years. And you've made the common mistake of thinking that Theresa is the same person Thelma Lindsey - she doesn't even know who Thelma is. You may be right about "Sugar Mountain" b/w "Why Oh Why" being cut in NY, the disc has Cotillion as co-publisher on the label. Both sides were written by Davis, Kimble, Johnson, Harbert - and produced by Quinton Kimble and Sonny Sanders. Theresa went to New York after her Golden World 45 to persue a career on Broadway. She then recorded one song in NY called "It's Over" that oddly enough was only released in the UK (on the President label). She's credited as Terri Lindsey on the label. Confusing stuff. | ||
Robb_K (robb_k) 4-Laureate Username: robb_k Post Number: 108 Registered: 4-2004 Posted From: 66.81.30.230 |
My last post was ALL conjecture. I was just trying to put together all that we know and use logic to deduce what MIGHT have happened. I have read over the years in several sources (none official), that Theresa was Thelma Lindsey. it's nice to know now, that she wasn't the same person. It's ironic that both recorded at 8912 Grand Blvd. with some of the same producers and musicians, and yet they never even heard of each other. I guess it's not surprising that that is a common mistake. I guess there was a lot of conjecture over Detroit soul, through the years, getting into print and becoming "official" information. Didn't Quinton Kimble work out of NY? I don't remember hearing anything about him working in Detroit. As Bateman was already in NY, it would not be surprising to hear that his old group and labelmate, Sonny Sanders came to New York to work on that Atlantic-financed project. Davis could be a New Yorker. It's not likely that Thelma's Don Davis would have moonlighted on a Correc-Tone project. The Johnson could also be from NY, rather than being Correc-Tone's Laura Johnson. Cotillion co-publishing helps make the case for Atlantic's 2-record distribution deal, and bringing Theresa there to record (per her own comment). Her comment about "being signed to Atlantic" might have referred only to her record distribution deal, but might also have meant a 2-record artist deal (as I described in my previous post. | ||
acooolcat (acooolcat) 3-Pundit Username: acooolcat Post Number: 58 Registered: 4-2004 Posted From: 210.200.105.226 |
Hi Robb I've seen *Quinton Kimble's name on Celebrities' 45s; a group that recorded for the Detroit based *Ten High and Boss labels. I don't know where he was from/based, but assumed he was a Detroiter. It could be that Davis is Ronald Davis, and Johnson is Laura Johnson; it's probably Wilbert Harbert, Correc-tone's piano-playing songwriter. More conjecture! | ||
Robb_K (robb_k) 4-Laureate Username: robb_k Post Number: 112 Registered: 4-2004 Posted From: 66.81.17.62 |
So, ALL the writers were Detroiters. But that was nothing new for Bateman. He produced a lot of recordings in NY, of songs written in Detroit. So, Willy Harbert's first name is Wilbert. Was that a coincidence that Wilbert Golden had the same first name? | ||
acooolcat (acooolcat) 3-Pundit Username: acooolcat Post Number: 59 Registered: 4-2004 Posted From: 210.200.105.226 |
Robb, it's actually Wilbur, sorry about that. He wrote a song called "Oh My Love" with Bateman, Sanders, and a guy named James Nash. It's Correc-tone publishing. Do you know if this was recorded/released? | ||
Robb_K (robb_k) 4-Laureate Username: robb_k Post Number: 114 Registered: 4-2004 Posted From: 66.81.192.216 |
Yes, I had only seen his name spelt as "Wilbur" until this thread. As far as "Oh My Love",- I don't remember, offhand, seeing a vinyl record with a Correc-Tone song with that title with Bateman,Sanders, Golden and Nash as writers. Although I do remember seeing the name Nash connected with Bateman's on a song or two. That title is so common-looking, that I may just have temporarily forgotten it. But, I also can't think of any Correc-Tone songs that were recorded, but not released. I'm sure there were several, but can't think of any. I didn't know about any of the Thelma or Solid Hitbound unreleased recordings until they started showing up on CDs. I never really interviewed people in the business, to find out things like that. Ron Murphy, Davie, or John Lester might be more likely to know something about unreleased recordings. The only unreleased recordings that I have vast knowledge of are those of Motown in the 1960s (due to my work connected with the original proposed album series "From The Vaults". Most of my other knowledge comes almost exclusively from having seen and heard vinyl records. I've never really read fanzines or books related to music, or looked up information on the internet. As I stated previously, I got out of the collecting circle in the very early 1970s, when I moved my reidence to The Netherlands, and worked for The UN in The Third World. I hadn't really spent ANY time in contact with the music business after my having little time for Airwave starting in 1983. As it was, I was only in USA for 3-5 months per year, even from 1978-79, when I worked on "From The Vaults, and 1980-84, when I worked with Airwave. From 1984 to present, I've been concentrating on establishing myself in the cartooning field, so have had virtually no free time for hobbies. Several months ago, my old friend, Rod Shard told me about Soulful Detroit. My time spent on SD is jeopardising my work schedules. But, I have NOTHING to do with soul music other than my posts on SD (most of which I make in the middle of the night). I hope someone will answer your question, however. The possibility of my getting hundreds of questions about Motown and Detroit and Chicago Soul answered after all these years is the intoxicating prospect that is difficult to resist. Currently, I also have The Stanley Cup Playoffs as a large distraction. It's good that I'll return to Den Haag in a few weeks. | ||
Robb_K (robb_k) 4-Laureate Username: robb_k Post Number: 116 Registered: 4-2004 Posted From: 66.81.193.116 |
I was just listening again to the 1962 Correc-Tone productions, and hear two or three different girls groups as back-ups to the single artists. It's clear that The Supremes backed up Wilson Pickett "Let Me Be Your Boy" and "My Heart Belongs To You", and they COULD be the backups on the 2 James Velvet cuts, and Gino Washington said they WERE his backups on "I'm A Coward" and the Correc-Tone "Puppet On A String". The girls groups backing up Laura Johnson and Marva Josie on the cuts leased to Brent/Time are clearly NOT The Andantes, and sound poppish like The Supremes, but I don't hear the Supreme's voices in them. Graham, or Ron,-do you know who else Bateman, Sanders and Wylie used as backups on the 1962-64 Correc-Tone recordings? Could they be The Donays?...-or some combination of Yvonne Vernee and other artists who recorded for them (Lillian Dorr, Bobbie Downs, etc)? Also, the girls backing up Marva Josie on "I Don't Care"(Sahara 5501)sound different from those on her Time record. The girls on the Pyramids' "I'm The Playboy" sound like one of those groups. Those backing up Lillian Dorr, Yvonne Vernee, Bobbie Downs and Theresa Lindsey on the later productions could be the third group. I'm also curious about who backed up Fred Bridges on his Bateman-produced Versatile cuts. As it was during mid 1962, the same time he was working on the early Correc-Tone productions, I'm guessing he involved people he worked with at Correc-Tone, even though he recorded those songs elswhere (a little local studio near Motown). The girls on Bridges record sound like the more soulful of the 3 girls backup groups I recognise on the Correc-Tone productions. Anyone have any information? |
