By Rich (162.33.235.67 - 162.33.235.67) on Thursday, February 07, 2002 - 04:40 pm:

Hope you folks don't mind too much if we talk some Philly up in here, only be a minute. The Cameo & Parkway Labels ... I'm wondering if Bobby Eli or anyone else knows if they had their own recording studio or offices or if anyone knows where they made their recordings in the early to mid-sixties.

Thanks Again, RK

By david, glasgow, scotland (62.252.128.5 - 62.252.128.5) on Thursday, February 07, 2002 - 05:19 pm:

rich
i think the spec on the left says northern soul or detroit soul.

you're well covered, and very welcome!

By phillysoulman (152.163.204.177 - 152.163.204.177) on Thursday, February 07, 2002 - 05:52 pm:

Hi Rich,

Cameo-Parkway had studios in several locations.
The first studio and office was at 1405 locust st., on the 6th floor. this was from about 1957 until 1963. It was a rather smallroom. The early stuffsuch as the twist, mashed potato, time, the ,orlons , the early dovells,were all recorded there. In early 1963 they moved to 309 s. Broad st.,third floor, which later became the home of Philly International.
They built two studios which were state of the art at the time.
the large studio a,which was at the back, had floating floors, and extremely thick walls.
It was reminicent of Bell Sound in NYC.
Candy and the Kisses , the 81 was done there, so much in love, by the Tymes in studio b,
At the top of the stairs, aint nothin but a house party, let the good times roll let the good times roll,prove yourself a lady, limbo rock,western union man,never gonna give you up,cowboys to girls,expressway to your heart, la la means I love you, all in studio a. Joe Tarsia later of sigma fame was the engineer. The other engineers were Joel fine and David Hewitt.

In August of 1968 Sigma opened and the rest is history.

By david, glasgow, scotland (62.252.128.5 - 62.252.128.5) on Thursday, February 07, 2002 - 07:36 pm:

fantastic info bobby.

By Rich (162.33.234.77 - 162.33.234.77) on Thursday, February 07, 2002 - 08:20 pm:

Yeah great, double thanks Bobby, you're a wealth of talent and information. LOL David, I appreciate the words of welcome.

By Fury13 (12.2.196.17 - 12.2.196.17) on Thursday, February 07, 2002 - 08:34 pm:

Bobby, are the Locust St. or Broad St. studios/buildings still there? If so, what are they used for now? Some fantastic music was made inside both of those places.

By david, glasgow, scotland (62.252.128.5 - 62.252.128.5) on Thursday, February 07, 2002 - 08:40 pm:

i suudenly got the urge to ask bobby if he knows anything about chubby checker's cameo parkway
output.

'at the discotheque' and 'you just don't know' were killer tracks in the early days and probably still are now.

By Ritchie Hardin (62.254.0.6 - 62.254.0.6) on Thursday, February 07, 2002 - 09:02 pm:

Bobby - that little list you reeled off just shows how Philly's output in the sixties is under-rated. We all hear about "the Philly Sound" as if it suddenly materialised in the 70s out of nowhere.

Maybe Philly didn't have Motown, but they did have a long and pretty distinguished run of goodies throughout the sixties. Those records you named just go to prove it. I know we all love the music of Detroit, but the world would be a much poorer place without any one of the classics you recalled. At The Top Of The Stairs, Ain't Nothing But A Houseparty, the Delfonics, The Intruders - I wouldn't be without 'em for a minute!

Maybe Philly is overdue in receiving its dues for its contribution to Classic Soul.

By phillysoulman (152.163.197.72 - 152.163.197.72) on Thursday, February 07, 2002 - 11:02 pm:

Hi Ritchie,

I definitely concur with your thoughts on this subject. A lot people are unaware of the massive output of material recorded in Philly from 1956 thru 1968, and the birth of Sigma at which I attended the delivery!! I remember Kenny saying to Joe Tarsia " Sounds great Joe, we'll use it"
On this "test" session we recorrded Rover rover , by Ruth Mcfadden , which appeared on the rare Huff-Puff label.There was another song done as well and when I remember it I will post it.
Going back to pre-Sigma, tons of pop dribble like Bobby Rydel, Danny and the Juniors, Fabian,
Frankie Avalon, The Twist by Chubby Checker(incidentally, I own the original Fender Deluxe tweed guitar amp through which Joe Renzetti played through on the twist and many other Cameo sessions.)Philly also was a post-war mecca for Gospel as well with recordings by Clara Ward, Marion Williams,The Dixie Hummingbirds, and many more. it is amazing that many Northern favourites were recorded at Cameo studios. It must be something in the water!!!!

By Ritchie Hardin (62.254.0.6 - 62.254.0.6) on Thursday, February 07, 2002 - 11:15 pm:

Hi Bobby

Yes, I deliberately wasn't including the early Pop trivia - though I suppose it does have some kind of kitsch value for those whose tastes are less refined! I suspect much of Cameo/Parkway/Swan's early success was more down to payola and American Bandstand than musical quality... (oops! Did I say that?) - but, I doubt that Dick Clark visits this forum so I think I can get away with saying it ;o)

As for "the Twist" - give me Hank Ballard's original any day.

By phillysoulman (205.188.192.36 - 205.188.192.36) on Friday, February 08, 2002 - 12:33 am:

My Sentiments exactly on all counts!!!!

By Fury13 (12.2.196.17 - 12.2.196.17) on Friday, February 08, 2002 - 12:58 am:

Bobby, "I'll Never Dance Again" by Bobby Rydell is one of my guilty pleasures! Had to admit it.

By Fury13 (12.2.196.17 - 12.2.196.17) on Friday, February 08, 2002 - 01:02 am:

Regarding "The Twist" -- Chubby Checker didn't actually know how to do the dance yet when he recorded it. So he approached Hank Ballard and the Midnighters and asked for a twist lesson. Only one of the Midnighters, Norman Thrasher (who was formerly of the Royal Jokers) would consent to teach the dance to Chubby. He did, and the rest, as they say, is history. Incidentally, Norman Thrasher still lives in Detroit.

By phillysoulman (205.188.192.187 - 205.188.192.187) on Friday, February 08, 2002 - 01:03 am:

tsk tsk tsk!!!!!
Ill let you have that one

By phillysoulman (205.188.192.187 - 205.188.192.187) on Friday, February 08, 2002 - 01:19 am:

Is anyone aware of the album. "Free the black man's chains" from around 73?
It was on G.S.F.. It was one of those alleged mob backed lps based on a supposed impending broadwayish type show, that never saw the light of day. I "wrote"some of the songs although I have been quite ashamed to mention it until now. I thought that it would destroy my street cred.
The powers that were, had no clue what black suppression was all about, so we were directed to come up with these dreadful songs based on that subject. There even was a press party held in NYC to launch the alleged premier.

By recordboyusa (208.61.5.193 - 208.61.5.193) on Saturday, February 09, 2002 - 07:16 pm:

Hi Bobby,
Can't say I've seen that one, but I'll be on the lookout for it!

I was looking over the credits to William DeVaughn's excellent "Be Thankful For What You Got" LP... kind of a Philly who's who!

What was it like working with the Honey & The Bees ladies? I still find it hard to believe that they morphed into the Ritchie Family!

Is Pal Rakes still active in the Philly scene?

Thanks,
Jeff Lemlich
http://www.limestonerecords.com

By phillysoulman (152.163.207.183 - 152.163.207.183) on Monday, February 11, 2002 - 06:00 am:

Jeff and everyone,

The Be Thankful session and it's result was somewhat of a fluke. There was a company in Philly called Omega sound .Every was going Greek on the success of Sigma, which was named after Joe Tarsia saw that name on a menu in a Greek diner in Philly and used it for the studio name. Anyway Omega was a production company run by a dubious individual named Frank Fiorvanti.They also had Sound Gems and Melomega Music.
They used to advertise in magazines basically saying "Send us $1500 dollars and we will record you with top professionals"
That day he had $4500 dollars worth going for him with three "acts" recording one song each.
There was a 400 pound woman and a male vocal group as well. I do not know what ever became of them. The Be thankful session was never "finished"
with the the usual sweetening, remaining a ruff "board mix". So what you hear is the way it went down that day including the long version. The tape just kept running and Allen Felder just kept giving us cues. There never was a "final mix" The master purchase by Wes Farrell was a lucky break because it was never intended for release!!!!

There is also an interesting Cameo-Parkway story.
In the early sixties when they moved to 309 s. Broad st., Leon Huff used to sit in the lobby waiting for Bernie Lowe the Cameo president to come out. But old Bernie did not want to be bothered so he would escape down the back stairs and send out an excuse via a secretary.
Eventually Huff and Kenny Gamble wound up owning the building when Philadelphia International moved there!!!!! And the groove goes on.

By Billy Jackson (205.188.198.174 - 205.188.198.174) on Wednesday, February 20, 2002 - 04:42 am:

Hey! I spent my first days as a Black producer bieng paid at 1405 locust street. My first friend there was Joseph Tarsia who was designated my engineer. We immediatedly became friends and still are today. By the the way for anyone interested, I am still producing.. that is, that is I have become very selective. When I find an interesting subject,talent or person , I become that person. I am presently working on my first film. It is animated and I am looking for funds so I can remain tur to self. In case, you have not notice that is very hard to do!
I have recorded every talented Philadelphian,many at Cameo-Parkway and I shall release some my very very early tapes on many ofthe artist of the Orlons, Bobby Rydell, Dee Dee Sharp, Bunny Sigler, Benny Sigler, Lee Andrews & the Hearts, The Revels, The Showmen, General Johnson, The Imaginations, Little Tommy and The Elgins, Melvin "Hassan "Sparks and of Course The Fabulous Tymes. I recorded all of their hits todate and we are talking about doing something, again.I am not on the "Avenue Of Stars" but one day they will realize that I'm from Philly. I worked directly with Bernie Lowe,Harry Chipetz, Kal Mann and Dave Appell.and Reds Richards

By detroit formerly philly gal (64.12.102.37 - 64.12.102.37) on Wednesday, February 20, 2002 - 04:48 am:

Billy,
So we can assume your early tapes aren't owned by Cameo Parkway?

And does anyone know the status of that catalog? It's tragic that you can't buy product on artists like The Tymes. I saw their "reunion" on one of the Doo-Wop specials and was tremendously moved. An older cousin, and my older brother used to play "So Much In Love" over and over and over, especially when we visited the Jersey Shore.

By detroit formerly philly gal (64.12.102.37 - 64.12.102.37) on Wednesday, February 20, 2002 - 04:50 am:

p.s. I spent my first three years living in North Philly, a block off Broad Street. I assume 309 Broad is downtown?

By Rich (162.33.235.191 - 162.33.235.191) on Wednesday, February 20, 2002 - 02:05 pm:

Doesn't Alan Klein / ABKCO own all the Cameo-Parkway stuff and refuses to re-issue on CD? If true, lock him up for that. Billy Jackson & the Citizen Band ... Billy if you check back talk to us a little bit about that band and much much more about the early days. Philly Gal, you were downtown like Petula Clark. I myself grew up in Wilmington, DE but lived in Mt Airy for a little while after I got out of school.

By phillysoulman (64.12.107.46 - 64.12.107.46) on Wednesday, February 20, 2002 - 02:21 pm:

Rich,

Do you now reside in the U.S. or in the U.K?
Allen Klein, last I heard owned the C.P. catalogue. For the life of me I never knew why he refused to exploit the vast catalogue. In addition to the obvious pop fluff, lie many many wonderful soul and 'Northern" classics.
The Windy C and Mayfield masters come to mind. All distributed amd manufactured by C.P.
Eddie Holman's pre Lonely Girl, C.P.
A wealth of great stuff, many many unreleased titles as well.
Allen could make many more millions and we could enjoy the rich history of sixties Philly soul.

By Rich (162.33.235.69 - 162.33.235.69) on Wednesday, February 20, 2002 - 07:53 pm:

Bobby, at this exact minute I'm sitting about 2.5 hours south of you in Bethany Beach, DE, where I'm supposed to be working on peoples taxes - LOL. Moms family is all from Frankford Ave in the great NE to Croydon & back again, if you know where that is, and Man I'd love to get some of that stuff on CD, like the Orlons. I saw the LP cover once I think it was green, three girls & a guy and one of the girls was platinum blonde.

By Ritchie (62.254.0.6 - 62.254.0.6) on Wednesday, February 20, 2002 - 08:04 pm:

By request - The Orlons

By Rich (162.33.234.97 - 162.33.234.97) on Wednesday, February 20, 2002 - 09:13 pm:

Thanks Ritchie, I need to get scanner-cated, all I get is solid green (the inside of the lid) or black. Are they lookin' great or what in their gold skirts, no blonde hair though. BTW, I've got a bunch of cousins a little further up Rt 13 in Bristol, but I don't know if they can stomp. Moms family all came over from Scotland. Half from Edinburgh & half from Glasgow. Hey Dave ... wot up cuz? They got off the boat and bought a Philly pretzel thinkin' it was pastries and chased the vendor down for their money back when they tasted the bitterness of all the salt - LOL. Pretzels like tastey-cakes & cameo-parkway are straight Philly, I've even been to a pretzel museum down on market st. Anyhow, I've strayed way off the topic now, so I'll stop.

By Davie G (213.251.162.249 - 213.251.162.249) on Wednesday, February 20, 2002 - 10:27 pm:

Hi gang,

RE. the CAmeo - Parkway master tapes.

I heard on another forum that the principal reason that Allan Klein hasn't issued C-P
stuff on CD is because he doesn't actually have the master tapes. The story is that some Cameo
executive disagreed with him taking over the company and removed the master tapes before
Klein took over. Don't know how true that is
but it makes you wonder ..

It took Klein nearly 30 years to do anything with
the SAR catalogue which has been in his control since Sam Cooke's death.

By Rich (205.188.199.28 - 205.188.199.28) on Wednesday, February 20, 2002 - 11:16 pm:

Wow, can you imagine. Either way, thats like stealing paintings. You can't do that!!

By Ritchie (62.254.0.6 - 62.254.0.6) on Wednesday, February 20, 2002 - 11:17 pm:

Hi Davie

I'm sure Mr K did once have the master tapes. In the mid-70s, soon after he'd acquired the catalogue, there were a number of UK releases through British Decca, culminating in a Top 20 reissue hit for The Twist. There was a double album retrospective compilation, and I remember a Chubby Checker Greatest Hits album (sounds logical!) at the time too.

Since then, I'm honestly not aware of any serious re-working of the catalogue. So maybe the tapes ARE locked away somewhere...?

By detroit by way of philly gal (208.232.121.87 - 208.232.121.87) on Thursday, February 21, 2002 - 12:47 am:

Rich,
Well my part of North Philly wasn't too downtown ...I think of where old Wanamakers was (now Lord & Taylor) and center city as downtown.

Hmm, I can still smell those Tastykake butterscotch krimpets ...

By Fury13 (12.2.196.17 - 12.2.196.17) on Thursday, February 21, 2002 - 03:13 pm:

I read that Allen Klein had some sort of long-standing dispute with Kal Mann over the C-P catalog and that there were legal obstacles to reissuing the original masters on CD.

Kal Mann died recently so maybe the issues will be resolved.

By detroit gal (64.12.103.21 - 64.12.103.21) on Thursday, February 21, 2002 - 05:00 pm:

One can only hope this Cameo-Parkway thing gets settled before all the artists are dead. Imagine touring for years, and never being able to see your product in the stores, not being able to offer it to fans.

Motown music has never been out of print; just imagine if you couldn't have bought any Supremes records for 30 years? lot of great Philly music unavailable. And record companies make out online services to be ripoffs of artists -- what a joke!

By Soultwine (195.93.33.163 - 195.93.33.163) on Thursday, February 21, 2002 - 05:52 pm:

Hi Detroit Gal
It's sickening...and a bootleggers dream project!.
Even such possibilities seem to have no impact on the owners of the catalogue.The loss of critical recognition and diminished earning power to the artists involved seem to be way down the list in
any decisions.
Phil

By Davie G (213.251.162.249 - 213.251.162.249) on Thursday, February 21, 2002 - 07:19 pm:

Allan Klein was an accountant to begin with and
those roots go deep in whatever he has for a soul
- he is rich enough not to need money from
Cameo and I'm pretty sure he could care less
about Chubby Checker, the Orlons, Eddie Holman
and all the rest.

Bear in mind that apart from controlling Sam
Cooke's catalogue, the catalogue of Sam's SAR
and Derby labels he also, through his ABCKO firm,
controls all of the Rolling Stones sixties material. He controls it - not Jagger / Richard.

THis is one case where I'd have no qualms about buying bootlegs - the artists involved aren't
going to see any money coming via Klein's offices.

I noticed a Chubby Checker 20 track greatest hits comp. a few weeks ago - all remakes done for
K-Tel or one of those companies.

By detroit gal (152.163.195.204 - 152.163.195.204) on Thursday, February 21, 2002 - 07:46 pm:

Agree, Davie,
That's why I have several Tymes songs from the 'Net. How else can you get 'em? They're not even allowing any of the Cameo-Parkway stuff in films, from what I gather.

To see the Tymes on the Doo-Wop special, but know you can't buy their stuff - it is sickening.

By Bob Olhsson (68.53.120.100 - 68.53.120.100) on Thursday, February 21, 2002 - 08:27 pm:

I know a little about Allan Klein from things I was told by Andrew Loog Oldham when he produced for Motown.

He is supposed to be an expert in international tax law as it applies to entertainment. The Stones met him through Phil Spector who negotiated their unprecedented master lease deal with English Decca. This apparently was structured so that none of their income ever went into the United States or the UK. Oldham told me that each of the Stones earned more during their first year than any of the Beatles did during the entire period the band was together because of the financial arrangements Kline had set up for them.

Obviously this has nothing to do with the Cameo-Parkway release situation but there could be a lot more to the story than the idea that Allan Klein is just sitting on the masters. The word "control" may mean something very different from ownership in the usual sense and it may require several parties agreeing in order to make anything happen. Didn't Dick Clark actually own part of Cameo-Parkway?

By Fury13 (12.2.196.17 - 12.2.196.17) on Thursday, February 21, 2002 - 08:41 pm:

You can get the original C-P stuff on "import" (bootleg, right?) CDs. I have "All the Hits by All the Stars" Vol. 1 and Vol. 2, which amounts to an anthology of most of the C-P hits from 1957-63. (There is a "All the Hits..." Vol. 3, and maybe even a Vol. 4.)

Sound quality is decent -- it's clear, not scratchy, although it's a little trebley (just turn up the bass!). I assume it's all mastered from vinyl but it's not a bad product overall.

Dee Dee Sharp sure made some fun records.

By detroit gal (205.188.192.157 - 205.188.192.157) on Thursday, February 21, 2002 - 09:48 pm:

Yeah but I bet the sound is better from the Napster downloads (smile) ...

Didn't Seger have one release on Cameo-Parkway? And wasn't it originally owned by Morris Levy? Which is trouble, of course.

By Twister (62.254.0.6 - 62.254.0.6) on Thursday, February 21, 2002 - 09:58 pm:

Bob -

Fascinating detail on the Stones' financial dealings. It just goes to show what a lousy manager Brian Epstein was by comparison! I remember reading that he signed all the rights to Beatles product marketing (to "Seltaeb") for peanuts and lost the group millions in the process.

Incidentally, I understand that Dick Clark rapidly divested himself of many of his music-biz interests at the start of the payola enquiries. That included a partnership with Bernie Lowe and Harry Chiptez of Cameo.

As a result, Clark emerged spotless, while poor old Alan Freed was crucified. I won't comment on who I feel contributed more to promoting Black music.

By detroit gal (64.12.102.22 - 64.12.102.22) on Thursday, February 21, 2002 - 10:26 pm:

I'll comment -- Freed.

Re Epstein, sure Klein got a mint for the Stones, but Epstein believed in the band early on, and in Liverpool in 1961, he was as close to a professional manager as there was -- someone with money from his family business, and a great love of music.

By Twister (62.254.0.6 - 62.254.0.6) on Thursday, February 21, 2002 - 10:45 pm:

DG - Alan Freed. I rest my case. OK, maybe he did add his name to Chuck Berry's Maybelline, or the Moonglows' songs, and maybe he did take a few backhanders. It wasn't illegal till the establishment won the game by moving the goalposts. But, ask me and I'd pick "Mr Rock'n'Roll" over Mr Clean anyday.

By Ralph Terrana (209.240.222.130 - 209.240.222.130) on Thursday, February 21, 2002 - 10:46 pm:

Brian Epstien was a promotional genius. If any one is interested I'll post a rather long story on how The Sunliners got involved indirectly with him in a movement known as "Stamp Out The Beatles "

By david, glasgow, scotland (62.252.128.5 - 62.252.128.5) on Thursday, February 21, 2002 - 11:31 pm:

welcome to the forum twister.

ralph, i know we'd all like to hear that story.

By Bob Olhsson (68.53.120.100 - 68.53.120.100) on Friday, February 22, 2002 - 02:19 am:

That's interesting.

Ralph, did you know that Oldham was Epstein's original publicist for Beatles in the U.S.? Having that on his resume is how he got financial backing and the incredible deal for the stones.

By Raph Terrana (209.240.222.130 - 209.240.222.130) on Friday, February 22, 2002 - 02:54 am:

Yes I think Andrew told me that Bob. He and I hung out quite a bit when he was in Detroit.

By Ralph Terrana (209.240.222.130 - 209.240.222.130) on Friday, February 22, 2002 - 03:04 am:

Speaking of Andrew Loog Oldham...and maybe this one should be under studio stories...however....Andrew was producing a group called The Sunday Funnies ( Bob...weren't you the engineer on this?
) Their manager was Detroit DJ Robin Seymour. They brought in a rather young teen-age girl for some sort of vocals with the lead singer. At one point, Andrew had the young girl sitting on a stool. He then asked for the microphone to be continually lowered until it was just between the girls legs. He then had the singer get on his knees so that he was singing directly between the girl's legs. And the mother was in the control room looking rather concerned. I had to leave the control room because I was about to lose it with laughter.

By Fury13 (12.2.196.17 - 12.2.196.17) on Friday, February 22, 2002 - 05:11 pm:

DG, I don't think Morris Levy was involved in Cameo-Parkway, although I could be wrong. Levy had NYC's Roulette combine and ended up owning everything that George Goldner (Tico, Rama, Gee, End, Gone) started because of Goldner's gambling problems. Even Roulette was begun by Goldner.

As in the case with Alan Freed vs. Dick Clark, when it comes to Goldner and Levy, I think it's understood whose contributions to the R&B/rock scene in the '50s/early '60s were more meaningful.

There was an (ahem) interesting portrayal of Levy in the film "Why Do Fools Fall In Love."

By Davie G (213.251.162.249 - 213.251.162.249) on Friday, February 22, 2002 - 05:27 pm:

Ralph,

That story about the Sunday Funnies is a good
bit more interesting than their album :-)

I'd forgotten Andrew Oldham had worked at Motown
- what else did he do, there's Keef James for a
start ( wonder who thought up that name ..)

I'd like to hear about the " Stamp out the Beatles" project

By Ralph Terrana (209.240.222.130 - 209.240.222.130) on Friday, February 22, 2002 - 06:43 pm:

David G,
I'm not sure what else Andrew did for Motown. It seems my brother told me he was in L.A. doing some things there but this was after I had left the company.

I have been discussing the Stamp Out The Beatles episode with Fred Saxon trying to get my facts as accurate as possible. As usual, with any of the Sunliner stories, all of us that were in the band have different recollections of what took place wth us.As soon as I find time Ill give my account, Probably on a separate thread since it has nothing to do with Cameo-Parkway.The wy I remember it , it is a rather interesting story I think.

By Ritchie (62.254.0.6 - 62.254.0.6) on Friday, February 22, 2002 - 07:37 pm:

Ralph

We'll look forward to it. If it's anything like your stories so far, I'm sure we'll all enjoy it. Whenever it's ready for the telling, we'll be here to hear it!

By billy jackson (205.188.192.151 - 205.188.192.151) on Saturday, February 23, 2002 - 08:20 am:

Hey! What have I started..The tapes thst I am referring to are legitimately mine by possession.Two-tenths of the law. Early audtions and such.Many are my own independent production of artist I tried to bring along with me when I signed on as producer. Others are productions that I did with other writers and musicans that Cameo-Parkway or Bernie Lowe didn't like. Don't forget that Cameo-Parkway and Amerikan Bandstand had restrictions..Yes..restriction and as the house producer I held those audition ,and augmented many of the auditions to try to bring restricted talent to Bernie's attention the best way I could.If the talent was turned down ,in most cases it was, the properties became mine, .Detriot gal! You have fine taste!

By John Lester (213.1.132.186 - 213.1.132.186) on Saturday, February 23, 2002 - 10:18 am:

Billy.....can you find a way to help put them out for us ALL to hear please

By detroit gal (205.188.196.28 - 205.188.196.28) on Friday, March 01, 2002 - 02:17 am:

Thanks Billy!

I feel fortunate that I was born in Philly and then spirited off to Detroit as a young lass, I got the best of both worlds.

Tastykake and Sanders. Breyers and Stroh's. Tammi and Marvin ...