By JSmith (212.39.231.20) on Tuesday, October 22, 2002 - 02:37 am:

Born in Detroit, Gwen got into singing in church and at school. When she was a Junior High school pupil, she (along with about 11 others) was taken by a teacher to visit the Continental Records studio to see if they would be interested in using the young singers. They were told to return with a smaller group and even though the initial visit wasn�t followed up on by the school, the trip had planted a seed in her mind with regard to becoming a recording artist. While at Pershing High School, she performed in a talent show and Henry Smith, who was an alumni at the school, saw her perform there. He was impressed with her and asked if she would be interested in recording and she stated that she would. Her first release soon followed, the REM 45 "Mystery of Love". In 1964, with Henry Smith again making the introduction, she hooked up with the owner of Oncore Records and a single, "Mystery Man / Someone To Love" was issued. By this time, Gwen�s vocal prowess was gaining wider recognition although she had been ruled out as a potential new recruit to local female trio the Debonaires (her voice being considered too strong to fit into the group setting). She then had to wait until 1967 before enjoying her next release, this being the Tony Wilson produced "I Lost A Good Thing". This self-written song, cut at New Haven, became the debut outing on Larry Lick�s Velgo label (backed with "I�ll Be Crying") and was soon a local hit. She and Velgo tried to build on this success with a follow up single, "Just Say You�re Wanted And Needed / Still True To You". However nearly all the copies of this 45, when manufactured, had a pressing fault that prevented them from playing correctly and so they never officially made it into retail shops. The vast majority of copies didn�t even get to leave the warehouse, being smashed up to create space for other releases. Next up came the single coupling "Make Him Mine / One Day More" which was released on the local Lau-Reen label. Around the same time (mid 67), Gwen also enjoyed a release on LA based Uptown Records, "Take A Look". In 1969, George McGregor (working in conjunction with Timmy Willis) produced some tracks on Gwen and two of these were leased to Josie Records, "Keep On Living / It Ain�t Hardly Over". In the early 70�s however, Terry Woodford and Clayton Ivey signed her up to a production contract. At the time the pair had the idea to start up a �Motown South� organization and so were negotiating with Motown. Thus in 1972, Gwen found herself as a Motown artist but recording down in Muscle Shoals with Terry Woodford and Clayton Ivey. They committed 5 songs to tape but Motown decided to pass on them all. With no plans to release any of her cuts, Motown released Gwen from her contract but Terry Woodford shopped her master tapes around. They soon secured a deal with Casablanca Records and the label released "You Better Watch Out / Everybody Needs Love" in 1973. The company was however going through a change in distributor at the time (Warner Bros) and so in 1974 they reissued the single and it was also to become Gwen�s first UK released single in the same year. Still signed to the production deal with Terry Woodford and Clayton Ivey, she had given up on recording and formed the group, Sugar and Spice. Soon after though, Woodford & Ivey escaped from their Motown deal and were ready to record her again. Gwen suggested that they give a listen to the group, which had been working on �The Wolfman Jack Review�. Woodford & Ivey liked the trio and a decision was made to change their name to Hot. In 1977 then Hot enjoyed a self-titled album release on Big Tree. The label must have believed in the group, as in all, they lifted 7 tracks off the album for single release. Two of these, their debut release "Angel In Your Arms" (February 77) and "The Right Feeling At The Wrong Time" (August 77) made it onto the Billboard national chart. Further Big Tree albums were released on the group in 1977 and 1979 and although Gwen never quit the group she also embarked on a solo recording project. In 1979 this resulted in Big Tree releasing a single on her, "I Don�t Want to Dance no More / Hold me Like You Never Had me" and this also gained a UK issue. All these Big Tree recordings were made down in Alabama with Clayton Ivey and Terry Woodford handling production duties.
In the 1980�s she became a session singer and also secured some acting work, landing a couple of decent film roles. Ironically just as her US recording career was coming to an end, releases by and credited to her were stepping up in the UK. UK record dealer Adey Pierce got hold of a copy of some tracks cut in Philadelphia back in 1971 for Weldon McDougal. Believing them to be by Gwen, he released them as such on a 45 coupling the tracks "Lies� & � Rain" on his Mel-Ady label (Gwen however is sure these tracks don�t feature her voice). More recently, due to continual demand from UK collectors, Goldmine Records released "Just Say You�re Wanted and Needed" on a single here. Today, Gwen is based in California and has recently been working for the Holland brother�s HDH Records set-up. She still however finds time to sing on a regular basis, being a member of the gospel outfit, Melodious Hearts. In fact, her first US release in many years is expected in December as a CD album by Melodious Hearts is scheduled for issue.
........I have left out the info on the Mel-Ady 45 as Gwen states the vocals on the version of "Lies" she has been forwarded by WMcD are definitely not by her. I think we need someone to send her a short mp3 extract off the actual 45 to get her view on if she is the vocalist on that version (Weldon may well have sent her the Sharon Paige version by mistake).
Any errors or missing info, please let me know so I can amend / correct the piece. CHEERS.

By JSmith (212.39.231.20) on Tuesday, October 22, 2002 - 06:37 am:

Gwen can't remember anything at all about the tracks released on the Uptown 45. She states she cut some tracks for George McGregor and
Bill Craig but doesn't know the label they were released on or the song's titles. "Take A
Look" and its B side may have been amongst these. Can anyone tell me what producer / writer data is included on the 45's label.

By David Meikle (213.122.37.154) on Tuesday, October 22, 2002 - 08:22 am:

Did Dave Flynn promise a label scan of "Mystery of Love"?

If you have one Dave I'd love to see it please.

A record of great magnitude in my opinion.

By STUBASS (206.135.204.2) on Tuesday, October 22, 2002 - 01:02 pm:

ALL MY LOVE TO THIS BEAUTIFUL ARTIST...GWEN OWENS. I REMEMBER OUR "CARAVANS" UP TO THE STUDIO IN NEW HAVEN IN THE MID-60'S. TONY WILSON, THE SOUL DELEGATES, CHUCK AND THE WILSON KIDS, GWEN'S SIS BEVERLY, AND ALL. GREAT TIMES ON DEQUINDRE. AND BOY...COULD SHE SING...NOBODY DID IT BETTER. LOVE, STU

By JSmith (212.39.231.20) on Wednesday, October 23, 2002 - 02:04 am:

STUBASS,
Could you give us a bit more detail on your trips to New Haven please.

By STUBASS (205.188.209.38) on Wednesday, October 23, 2002 - 01:21 pm:

JSMITH; HOW'S IT GOING! I AM SITTING HERE WITH A COUPLE OF OLD NEWSPAPER ARTICLES ABOUT THE GROUPS AND PRODUCTION COMPANIES SURROUNDING MY MUSICAL INVOLVEMENT WITH GWEN AND THE "STUDIO" WE USED TO PLAY FOR. "TELEHIT PRODUCTIONS" LAUNCHED A 13 PIECE BAND WHICH STARTED OUT AS THE "JAZZ INTERPRETERS", AND LATER BECAME THE "SOUL DELEGATES". MOST OF THE MUSICIANS, LIKE GWEN CAME OUT OF PERSHING HIGH ON DETROITS EAST SIDE. I ACTUALLY FIRST MET GWEN THROUGH DEMO CATES (OF THE FABULOUS COUNTS) , SPYDER TURNERS BAND. DEMO AND I USED TO GIG TOGETHER AND WERE GREAT FRIENDS, AND HE WAS I BELEIVE GWENS COUSIN. I LATER PLAYED WITH THIS TALENTED GROUP OF YOUNG MUSICIANS WORKING ON INSTRUMENTAL PROJECTS AND SERVING AS GWENS BACKUP BAND. SINCE WE WERE ALL OF HIGH SCHOOL AGE , AT LEAST FOR THE MOST PART, ANY TIME WE HAD A PERFORMANCE OR TRIP TO THE RECORDING STUDIO, WE WOULD CARAVAN THERE IN SEVERAL CARS, USUALLY WITH FRED WILLIAMS, WHO USED TO LOOK AFTER US, LEADING THE WAY. TONY WILSON WAS OUR PRODUCER. TONY, A VERY TALENTED GUY WAS UNFORTUNATLY INVOLVED IN SOME SORT OF ACCIDENT WHICH LEFT HIM CONFINED TO A WHEELCHAIR, BUT HE PRACTICED US WITH MORE ENERGY THAN YOU WOULD THINK IMAGINABLE. STUDIO TIME WAS A BIG INVESTMENT TO THESE FOLKS, SINCE WE WOULD CUT AN INSTRUMENTAL, AND MAYBE A TRACK OR TWO FOR GWEN ON THE COUPLE OF TRIPS I MADE WITH THE GROUP UP THERE. I REALLY DONT REMEMBER THE SPECIFIC TRACKS WE CUT, BUT IN ADDITION TO REHERSING THE MATERIAL, WE WOULD REHERSE GETTING OUR INSTRUMENTS OUT OF THE CARS, SETTING UP, AND BREAKING OUR STUFF DOWN AS TO NOT CUT INTO THE ACTUAL RECORING TIME. WE ALSO WENT THROUGH THE SAME PROCEEDURE FOR PERFORMANCES. I DO REMEMBER OF FEW PARTICULAR HUMOROUS STORIES ABOUT OUR TRIPS, BUT PERHAPS ANOTHER TIME. JUST WANTED TO GIVE GWEN ALL THE "PROPS" I COULD FOR AN ENOURMOUSLY TALENTED ARTIST, AND BEING THE SWEETEST PERSON YOU'D EVER WANT TO MEET. WE HAD A LOT OF FUN...STUBASS

By MEL&THEN SOME (195.219.7.45) on Wednesday, October 23, 2002 - 02:37 pm:

Hey Stu,Hope your well mate,did you feature on Gwens Velgo pieces in any way?MEL.

By STUBASS (64.12.97.7) on Wednesday, October 23, 2002 - 03:29 pm:

MEL; HOW ARE YOU MY FRIEND? LONG TIME AGO. I REMEMBER THE TUNE "I LOST A GOOD THING", WHICH I PLAYED ACCOMPANIED GWEN ON DURING LIVE PERFORMANCES. I MAY HAVE PLAYED ON THE TRACK, BUT HONESTLY DONT REMEMBER THAT PARTICULAR SESSION, ALTHOUGH WE DID CUT A FEW TRACKS FOR GWEN AT NEW HAVEN...I JUST DON'T REMEMBER IF AND WHEN THEY WERE RELEASED. SOON THEREAFTER, I BECAME INVOLVED IN SOME OTHER PROJECTS, AND THEN BECAME A GROUP MEMBER AND BAND LEADER OF THE "STRIDES" VOCAL GROUP. SOMEONE MENTIONED KEVIN TONEY ON ANOTHER THREAD. KEVIN WENT ON TO BE THE FEATURED KEYBOARD PLAYER WITH DONALD BYRDS "BLACKBYRD" GROUP. I WORKED AT THAT TIME WITH BOTH OF HIS OLDER BROTHERS...DERRICK AND SAUL. I MAY WELL HAVE SEEN KEVIN PLAY HIS FIRST NOTE ON A PIANO, SINCE HE WAS A CUTE LITTLE KID OF ABOUT 10 WHEN I FIRST MET HIM. TALK TO YOU SOON...RUNNING LATE FOR A TEE TIME...STU

By MEL&THEN SOME (195.219.7.52) on Wednesday, October 23, 2002 - 04:22 pm:

Stu,always appreciate it when you take the time to reply,about your piece above,you mentioned a group called the Strides.Are we talking about The Strides that recorded on Michael Stokes(I Think)Record Label, MS records,that recorded I Can Get Along/The Stride(inst)?I obviously know of Donald Byrd and The Blackbyrds as they had hits over here in the 70s.You must be a pretty mean Bass player yourself Stu,because you have/are working with some top names.Thanks for the info on G.Owens and my best wishes to you in everything that comes your way.Always look forward to your replies.MEL.

By STUBASS (64.12.97.7) on Wednesday, October 23, 2002 - 09:54 pm:

MEL; JUST GOT BACK IN AND YOUR LAST POST "BLEW ME AWAY". YES..."THE STRIDES" YOU REFER TO ARE ONE IN THE SAME. ACTUALLY, I BELIEVE THE INSTRUMENTAL TRACK HAD BEEN CUT, LOOKING FOR A GROUP TO DO THE MATERIAL. SOMEONE REPRESENTING "ED KAPLAN" PRODUCTIONS HAD SEEN THE GROUP PERFORM AND SIGNED US TO A MANAGEMENT/RECORDING CONTRACT. I DID NOT PLAY ON THE RECORDING (PROBABLY BOB BABBITT...A MUCH BETTER CHOICE), BUT WAS TAKEN TO THE STUDIO TO HEAR THE TRACK SO I COULD PERFORM IT ON STAGE. THE GROUP WAS IN MY OPINION THE BEST LOCAL "TEMPTATION LIKE" (HERE I GO AGAIN), STYLE ACT AROUND. "I CAN GET ALONG" WAS A VERY NICE TUNE...BUT LACKED, IN MY OPINION, A BIG "HOOK". THE B SIDE, "THE STRIDE" WAS AN INSTRUMENTAL IN THE HOPES OF THE A SIDE BEING A HIT, AND THEN THEY COULD INVENT SOME TYPE OF DANCE STEP CALLED "THE STRIDE". UNFORTUNATLY, ON THE VIRTUAL DAY OF THE SINGLES RELEASE, OUR LEAD SINGER...CHARLIE CLARK, WAS DRAFTED INTO THE U.S. ARMY. CHARLIE HAD AN UNBELIEVABLY UNIQUE VOICE, AND WAS A TREMENDOUS TALENT. WE SIGNED CURTIS GADSEN...A.K.A. CURT DARIN, TO REPLACE HIM. CURTIS WAS AN EXTREMELY TALENTED 1ST TENOR, AND IS ALSO A GOOD FRIEND. CURTIS HAD A DIFFERENT STYLE THAN CHARLIE, AND ALSO IN MY OPINION, DESIRED A SOLO CAREER. THUS, THE BASIC DIRECTION OF THE GROUP CHANGED. CURTIS AND I WORKED TOGETHER ON SEVERAL PROJECTS THROUGH THE YEARS, ALONG WITH IVY JO HUNTER AND OTHERS. ONE QUICK STORY...WE WERE HEADLINING A SHOW AT A LARGE DETROIT CLUB. AS WE WERE PREPARING TO TAKE THE STAGE, SOMEONE CAME INTO THE DRESSING ROOM AND TOLD US THAT FOUR OR FIVE GUYS DRESSED LIKE "FLOWER CHILDREN", WERE "TRAIPSING" THROUGH THE CLUB GIVING RECORDS OR SOMETHING AWAY. WE ALL WENT OUT TO TAKE A LOOK. SURE ENOUGH, THESE GUYS WERE THERE, AND SOMEONE TOLD US THAT THEY WERE A NEW GROUP CALLED "FUNKADELIC". WE TOOK A CLOSER LOOK AND DISCOVERED THAT THEY WERE ACTUALLY A LOCAL GROUP THAT WE KNEW OF AS "THE PARLAMENTS", EXCEPT WITHOUT THE PLAID OR SHARKSKIN SUITS WE WERE USED TO SEEING THEM IN. I GUESS THAT WAS SORT OF THEIR "COMING OUT". I DONT KNOW OF MICHAEL STOKES CONNECTION TO THE RECORD, ALTHOUGH HE MAY HAVE BEEN. MICHAEL OF COURSE, ENJOYED SOME SUCCESS AS A PRODUCER WITH GROUPS LIKE "ENCHANTMENT". I ALSO ACTUAllY KNEW MICHAELS MOM...RUTH. A NICE LADY, SHE USED TO COME TO MY DAD'S SEAFOOD COMPANY AND BUY SEAFOOD FOR HER FISH MARKET. I WAS WORKING WITH MICHAELS BROTHER RICKEY FOR A TIME, TRYING TO HELP HIM PURSUE A PROFESSIONAL BASKETBALL CAREER. ANYWAY MEL, YOU CERTAINLY KNOW HOW TO STIR UP OLD MEMORIES...BUT I WONT TAKE UP ANY MORE TIME ON GWEN'S THREAD, AS SHE DESERVES ALL THE RECOGNITION WE CAN GIVE HER. HEY, IF YOU'RE TELLING ME THAT OUR RECORD SOLD ANY COPIES IN THE U.K., THAN PERHAPS SOMEONE OWE'S ME THIRTY OR FOURTY DOLLARS,,,SORRY,,,QUID. PEACE...STU

By MEL&THEN SOME (195.219.7.106) on Thursday, October 24, 2002 - 11:32 am:

Stu,many,many,thanks for all that info.I think you deserve a thread all on your fine self.As you say we wont take up the thread for Gwen,but watch my space.Your lucky you werent taken to Parliaments/Funkadelics mothership.MEL.

By JSmith (212.39.231.20) on Tuesday, October 29, 2002 - 05:48 am:

Does anyone on here know the story behind Gwen's version of "Hit & Run" -- included on one of the Goldmine 'Groovesville ' CD's. I know it was never issued. Gwen tells me none (?!?) of her Golden World recordings were issued (how many were there ?) and she only very vaguely remembers "Hit & Run". I guess the cut was one of those on the master tapes sold by Don Davis to Koppell a couple of years back.

By MEL&THEN SOME (195.219.7.11) on Tuesday, October 29, 2002 - 09:43 am:

JSmith,a good version of Hit and Run,by Gwen,but I think Rose Batistes is that more of a thumper.I would also like to hear anything regards how this came about.MEL.

By acooolcat (211.72.121.66) on Wednesday, October 30, 2002 - 06:49 am:

Stubass - it sounds like you and Gwen had a lot of fun and it's great to read your posts and get info' from someone who was there.
A couple of questions for you...You mention Dequindre - I don't suppose you remember The New Mystical Recording Company do you? Did you know Henry Smith?
Best wishes,
Graham

By STUBASS (205.188.209.38) on Wednesday, October 30, 2002 - 10:33 am:

GRAHAM: I DO REMEMBER HENRY SMITH. HE WAS INVOLVED WITH TONY WILSON AND CHUCK WILSON (NO RELATION) AND GWEN. NEW MYSTICAL WAS THE THE UMBRELLA COMPANY WHICH CONSISTED OF A REHERSAL STUDIO OVER MR. CHUCK WILSONS POOL HALL ON DEQUINDRE. CHUCK WAS A VERY NICE MAN WITH TWO SONS, BRENT AND DONNIE. I PLAYED IN THE "HOUSE BAND"...SORT OF "JUNIOR FUNKS". I CAN PICTURE HENRY SMITH, ALTHOUGH I HAVN'T SEEN HIM IN ALL THESE YEARS...REGARDS...STU

By acooolcat (211.72.121.66) on Friday, November 01, 2002 - 03:04 am:

Stu
I'm sorry to tell you that Henry died about 5 years ago.
Best wishes, Graham

By JSmith (212.39.231.20) on Friday, November 01, 2002 - 08:38 am:

Stu,
Many thanks for takin the time to pass along all this fascinating info.

By STUBASS (206.135.204.2) on Friday, November 01, 2002 - 11:52 am:

GRAHAM&JSMITH; SORRY TO HEAR ABOUT ANOTHER PIONEER LEAVING US. IT WAS PEOPLE LIKE HENRY WITH DREAMS AND DESIRE THAT MADE THE DETROIT MUSIC SCENE WHAT IT EVOLVED INTO. JSMITH, THANKS FOR THE INTERESTING BIO'S. WHEN YOU SPEAK WITH GWEN, PLEASE TELL HER TO JUMP ONTO THE FORUM. I FOR ONE, AND I'M SURE MANY OTHERS WOULD LOVE TO HEAR FROM HER PERSONALLY. REGARDS...STU

By David Meikle (62.252.128.6) on Friday, November 01, 2002 - 04:10 pm:

Stu

We've had the pleasure of Gwen's company on a couple of occasions.

Lowell would like you to contact him at boileau@bhere.com

David

By STUBASS (152.163.188.68) on Friday, November 01, 2002 - 10:52 pm:

DAVID & LOWELL; E- MAIL TO LOWELL ...ON THE WAY. THANKS FOR YOUR INTEREST. STU

By M.McLeanTech (66.218.60.128) on Saturday, November 02, 2002 - 01:38 am:

By JSmith (212.39.231.20) on Tuesday, October 22, 2002 - 02:37 pm:

Responding to the above posting:

JSmith, thank you for your encouragment about the Graystone. I am still trying to give you a decent response.

However, I must say, after looking at the offering that you opened this tread with, that you should at least learn how to use new paragraphs to control your presentation of your ideas (in writing.)

All I ask is that you look for each idea that you have presented. When you finish the first idea, use a paragraph break to start the next idea.

That's all I ask. I want to help you.

I am not asking you to become a William Faukner. All I know is that your posting comes off like a six decker peanut butter sandwich, wolfed down, and stuck in the osophogus, leading to agony.

How much more elegant if you would feed those who deeply value your wisdom in nice bites, as would a loving person feed an infant.

That is what paragraph breaks are for.

Cheers,

Mike McLean

By MusicManMelvin (67.25.177.21) on Saturday, November 02, 2002 - 10:51 am:

Well said Mike,

I gave up reading Mr. Smith's preliminary bio of Gwen Owens after about six sentences. My eight year old knows better.

Speak to the "all caps" posters too. Tell them how difficult it is to read anything that is in "all caps." Put a stop to it, Mike!

By Ralph (209.240.198.62) on Saturday, November 02, 2002 - 11:36 am:

GADS!!! Mike is going to become the forum school marm! OK...I can accept that. Except it's not KAY sera Mikie.

By larry (12.141.160.25) on Saturday, November 02, 2002 - 02:56 pm:

I agree with Mike 100% on this.

With all respect..
Stu, you shouldn't write in all CAPS. In cyber space it means you're YELLing! Upper case is used for emphasis.

Also, when I see a post strung together with no breaks, I simply can't keep my eyes focussed and so I move on. Think of using Paragraphs, proper use of case, double spaces between sentences etc.

By STUBASS (206.135.204.2) on Saturday, November 02, 2002 - 03:20 pm:

LARRY & ALL; PLEASE ACCEPT MY APOLOGY FOR MY TYPING STYLE. NO ARGUMENT HERE, EXCEPT THE WAY THAT I AQUIRED THIS STYLE OF TYPING IS DUE TO MY YEARS OF EXPERIENCE AS A RADIO BROADCAST JOURNALIST. WHEN WRITING NEWS COPY IT IS INDUSTRY STANDARD TO USE ALL CAPS...TRIPLE SIZED CASINGS, AS WE ARE VIRTUALLY SIGHT READING OUR NEWS COPY DURING A NEWSCAST. AS WE AGE, IT IS MUCH EASIER TO READ LARGE CASE. SORRY GUYS, NO ARGUEMENT HERE, BUT OLD HABITS ARE HARD TO BREAK...STU

By larry (12.141.160.25) on Saturday, November 02, 2002 - 03:37 pm:

Stu,
No apology necessary. I didn't mean to come on so strong. It's a matter of readability. The hardest posts are the ones where there's no break at all between thoughts, just one lengthy string.

Bottom line is, all the great information can get wasted if it's hard to read. It's for everyone's benefit, specially the poster.

By JSmith (212.39.231.20) on Monday, November 04, 2002 - 02:09 am:

Mike, etc,
My bio pieces are all written using paragraphs correctly to split up the seperate threads. However, as memory is at a premium when posting on-line, I remove all the spacing (and in places substitute & for and or # for number, etc.) when posting on lists. At least I don't shorten things in 'texting' fashion, hope thats OK 4 u.

By JSmith (212.39.231.20) on Monday, November 04, 2002 - 07:28 am:

I have now had the time to check some of the other conversation topics here and seen the tirade against the sharing of information that some feel is irrelevant or is in a form that displeases the odd member. Can I just be allowed to suggest that we all 'live and let live' a bit more.

As my act of penance to further this cause, I promise to utilise paragraphs in all my future posts.