Seems be another one-off 45 from an artist that nothing is known about. A Herb Bernstein production for Bob Crewe, written by Bernice Ross and Joe Falsia . Please Keep Away is the official B side. Played at Stafford in the 80s a popular blue-eyed (B side is the giveaway) Northern Soul.
Hexagonal shaped labels pressed at 'Monarch' Los Angeles and the other version is from ""Shelly Products"" New York
517 Elbie Parker [1966] - Please Keep Away From Me [Veep 1246]
Joannie Sommers' real name is Joan Drost. She signed to Warner Bros in 1959 at 18. She was a singer actress who had a small role in 77 Sunset Strip US TV series. Her recording career spanned the 60s with mainly MOR songs. Only 3 of her releases made the US Hot 100. 'Don't Pity Me' was picked up the the Northern Soul scene (probably a mid 70s Casino spin but not sure?) and seems to be ever popular. A typical mid 60s girlie sound that swirled around large dance halls which was so popular at the time.
Joanie Sommers [1965] - Don’t Pity Me [Live]
Joanie Sommers [1965] - My Block [Warner Bros. 5629]
Benny suffered a major stroke in the early 1990s and remained under care until he died of respiratory failure in 2011 aged 79.
This frenetic, cajun-spiced beat draws with the almost-erratic piano line and vocal (with Allen Toussaint in the background) wind their way into your head in spite of no easy or central hook in the song. Fortune Teller was covered by The Rolling Stones, The Throb and The Who did a live version.
Benny Spellman [1962] - Lipstick Traces (On A Cigarette) [Minit 644]
Lipstick Traces was the official A side which was covered many times but most notably by The O'Jays on their debut LP 'Comin' Through' on Imperial in 1965
The O'Jays [1965] - Lipstick Traces (On A Cigarette) [Imperial 66102]
Del-Rays [1966] - Fortune Teller [R-H 1005]
Rolling Stones [1963] - Fortune Teller [Decca 117742]
Scheduled for the Stones second release in 1963 with Poison Ivy on A side but was withdrawn making this a very rare record.
The Throb [1966] - Fortune Teller [Parlophone (AU) A8190]
Taken from the video: From obscure origins as a Sydney-based surf-instrumental band, The Throb emerged in 1965 and briefly shot to national prominence. Despite its short tenure, the group left no doubt about its punkish potential and they have been immortalised on record by two superb singles, their snarling ""garage-punk"" version of ""Fortune Teller"", which smashed its way to the top of the national charts in early 1966, and their group arrangement of the old English folk song, ""Black (Is The Colour Of My True Love's Hair)"", a slashing, snarling piece of proto-gothic wonderment. (Source: Milesago, great site on early Australian bands).
The Throb consisted of John Bell (vocals, guitar, harmonica), Denny Burgess (bass, vocals), Peter Figures (drums) and Marty Van Wynk (lead guitar).
The Who [1969] - Fortune Teller (Studio version) Recorded in The Grande Ballroom Dearborn MI in 1969 but wasn't released until 2007 on View From A Backstage Pass CD compilation which was only available to subscribers of www.thewho.com.
The Who - Fortune Teller (Live at Isle Of Wight 1969)
I can find no information about Ellusions. Lamon records was established in 1962 in North Carolina (Charlotte), later moving to Nashville and is still in existence today. The label specialises in bluegrass and country. It would appear that the Ellusions were a 60s white garage band.
The official A side is in fact 'You Wouldn't Understand' which starts off really slowly in a doo wop vein and then turns into a more mid-tempo groove in more of a group soul harmony/crossover flavour. 'You Didn't Have To Leave' is a more obvious Northern dancer.
It used to be quite rare but a box of them turned up in the 80s which brought the price down. It has also been bootlegged on styrene, the original being vinyl. Even the bootleg seems to sell between £40-£60
The 'evergreen' Sweet Sherry was the third of four recordings by J.J. Barnes at Groovesville (555). The Originals are on backing vocals. Apparently it was never officially released. It found release in the UK on Blues & Soul's Contempo label in 1970. J.J. Barnes is one of the 'heroes' on the UK Northern Soul scene with many of his Ric-Tic recordings being played from the beginning of the scene along with his outings on Groovesville and Revilot and some earlier recordings on Mickays. He released a solitary US LP on Perception 'Born Again' in 1973 followed by a UK only 'Sara Smile' LP on Contempo in 1977. Ian levine cut 'Try It One More Time' album with him in 1991 on his Motorcity label. A couple of noteworthy compilations included Rare Stamps on Volt which also has tracks by Steve Mancha and The Groovesville Maters on Contempo both of which used previously recorded Groovesville material. The story goes that although Barnes signed with Motown when the acquired Ric-Tic they thought he sounded too similar to Marvin Gaye at the time and he was kept for a while for his song-writing but eventually let go and joined Don Davis at Groovesville.
Some other J.J. Barnes tracks played on the scene include: Please Let Me In (Ric-Tic) Say It (Ric-Tic) Real Humdinger (Ric-Tic) Baby Please Come Back Home (Groovesville) Our Love Is In The Pocket (Revilot)
Got To Get Rid Of You (Volt) How Long (Contempo) ... and many others
J.J. Barnes [1970] - Chains Of Lovey [UK Contempo CS.2048]
J.J. Barnes' "Baby Please Come Back Home" (June 1967) jammed all over the Midwest, East Coast, South, and west of the Mississippi River. This was the 11th single and the sixth recording company (Groovesville) of Barnes' career.
Barnes co-wrote most of his recordings; "Baby Please Come Back Home" was co-written with Don Davis, a guitarist, songwriter, producer, music publisher, and record label owner. Barnes sang the lyrics with so much pain that the single went to number nine on Billboard's R&B chart. Unofficially, it was number one at inner city skating rinks -- skaters loved rolling to its cool, slinky, mercurial rhythm and pinging accents.
James Jay Barnes, born November 30, 1943, in Detroit, MI, had more than 25 single releases after his big hit, but none duplicated its captivating aura, sales, or chart position. Barnes' gospel background (the Halo Gospel Singers) isn't apparent on his recordings; he came along at a time in Detroit when the city's blues and R&B bases were strong.
His style emulated Southern soul singers; the session players in Detroit in the early '60s were R&B players and gave Barnes' records a Southern feel. Other Detroit singers with a similar sound include Joe Stubbs, Steve Mancha, Darrell Banks, Sammy Ward, and Lee Rogers. In 1960, when he was 17, Barnes cut his first single, "My Love Came Tumbling Down" b/w "Won't You Let Me Know," for Kable Records, which did nothing but add "recording artist" to Barnes' resum‚. This was not a title to take lightly -- a few spins on the radio enabled an artist to jack their price up at the neighborhood club. No longer was he, J.J. Barnes, appearing Thursday, Friday, and Saturday nights; now J.J. Barnes, the recording artist, was appearing live and in person. Mickay Records issued four singles by Barnes; the first, "Just One More Time" (1963), is sought after by Northern soul fanatics. Scepter Records realized its potential and plucked it for national distribution, but the sales never amounted to much. "These Chains of Love," "Teenage Queen," and "So Far Away" -- all released in 1963 and 1964 -- were good efforts that few heard. He cut one record for Ring Records in 1964, "Poor Unfortunate Me" b/w "She Ain't Ready." Ric-Tic Records issued Barnes' seventh record and followed it with three more, debuting with "Please Let Me In" in 1965; like many of Barnes' recordings it had a pronounced, four-on-the-floor beat -- the beat that defined the early Northern soul sound. Initially, if a tune didn't have that beat, it wasn't played in Northern England's popular dance clubs. Inner-city teens hated the beat (it wasn't cool to dance to) and R&B disc jockeys rarely played these tunes. Still, his Ric-Tic debut sold better than previous singles. "Real Humdinger," its successor, charted at number 20 on the R&B chart and number 60 on the pop chart, but, despite these numbers, wasn't played in some cities, mainly because of its hokey beat. An update of the Beatles' "Day Tripper" became his most successful record at the time. Barnes' smooth interpretation of the British rocker received substantial play in many urban cities. With Edwin Starr (lead) and Steve Mancha, Barnes hit with "I'll Love You Forever" as the Holidays. The record was a complete fluke -- the trio just happened to be around when producer Don Davis got an itch to cut the tune. They never toured as the Holidays, Davis recruited other singers for that. "Say It" b/w "Deeper in Love" didn't stand a chance because Ed Wingate was in the process of selling Ric Tic/Golden World Records lock, stock, and barrel to Motown. Barnes wasn't happy being Motown's property, neither was his ex-Ric-Tic bud, Edwin Starr.
Motown never released anything by Barnes, the company was more interested in his songwriting abilities and released at least two songs co-written by Barnes: "Show Me the Way" by Martha & the Vandellas (October 1967) and "Don't Make Hurting Me a Habit" by the Marvelettes (December 1968).
Motown released Barnes from his contract and he hooked up with Don Davis again, scoring the first time on Groovesville Records with "Baby Please Come Back Home." Its successor, "Now That I Got You Back" b/w "Forgive Me" (1967), a stomper and a pleader, threw a rod at number 44. The third, "Sweet Sherry," with the Originals harmonizing behind Barnes, didn't sell despite its immense charm. Then came "Easy Living" b/w "I've Lost You," with backing vocals by the Holidays, on the Groove City label, which sank upon release.
A stint on Revilot Records resulted in four singles, including "Our Love Is in the Pocket," a popular Northern soul song. Barnes co-wrote his final Revilot single, "So Called Friends" (1969), with George Clinton (Parliament) and two unknown brothers by the last name of Taylor. Buddah, Volt, Leo, Magic Touch, Perception, and Invasion Records issued Barnes' next five releases from 1969 to 1973. None hit, but "Snowflakes," the Volt release, was later acclaimed by some Britishers.
Perception issued the first J.J. Barnes album, Born Again, in 1973; the Perception sides didn't compare to earlier recordings, nor did what followed.
Old friend Edwin Starr moved to England and became very popular; remembering Barnes, Starr arranged for his old buddy to come over and do a series of shows with him. This proved to be a lucrative move, as Barnes signed a deal with Contempo Records, a U.K. label, in the mid-'70s. Contempo cranked out seven undistinguished singles and an album, Sara Smile, for Barnes.
He debuted on Contempo with "To an Early Grave," cut a remake of Hall & Oates' "Sara Smile," and tried to popularize an inner city dance tune, "The Errol Flynn." He released at least five more records -- including "Think I Got a Good Chance" on Organic, an update of Carl Carlton's "Competition Ain't Nothing" on Inferno in 1984, an attempt to recapture the magic of Frank Wilson's Motown release (which was ignored in the U.S.A.) "Do I Love You (Deed I Do)" on Inferno in 1985, and two on Motor City.
Albums include Rare Stamps on Volt Records, which features cuts by Barnes, Steve Mancha, and Darrell Banks; he also recorded an album on Motor City Records entitled Try It One More Time. A virtual nobody in the States, Barnes is one of Northern soul's most beloved artists. A janissary of soul fans worldwide love him, but at home his sister, Ortheia Barnes, is more known. Ortheia Barnes never had a hit, but once hosted a radio show in Detroit on WCHB every Wednesday called Ortheia's Special Touch; she's fondly remembered by witnesses of her electrifying live performances.
This is a 'strange' record. It obviously has the 'right beat', however to my ears this sounds like 'Rawhide' and is a cross between a rock and country & western tune and also sounds like a show tune from the very early 60s. This is what you would call popcorn. If it wasn't for the flip side I would have guessed that this was recorded by a white country & western artist! Probably best to say that this is a 'Marmite' record.
Era was also the label for Billy Watkins 'The Ice Man'. The label ran from 1955 until 1970. It was Steve Flanagan's only release on the label as with Billy Watkins. Jewel Akens, however, had 9 releases between 1964 and 1969.
Steve Flanagan became a member of Creative Source (he is the one in the foreground of photo below). Creative Source's - Don't Be Afraid (Take My Love ) got plays at the Blackpool Mecca upon release in 1976 (oddly only released in UK). They released 4 albums and about a dozen or so 45s between 1973-76.
Steve Flanagan [1967] - I Need To Be Loved So Bad [Era 3186]
As equally as I dislike 'Ive Arrived', I love the flip side. A superb crossover tune from the pen of the talented Willie Hutch. (Unfortunately I can't find a label scan for it)
Jewel Akens [1966] - I've Arrived [Era 3164]
Creative Source [1976] - Don't Be Afraid (Take My Love [Polydor 2066 680]
UK 45 release only from the 1975 album Pass The Feelin' On, this was played at Blackpool Mecca on release. Due a reactivation methinks!
Creative Source [1976] - Pass The Feelin' On [Polydor 2066 680]
On the flip of 'Don't Be Afraid' and the title track of the album is 'Pass The Feelin' On' which is no slouch. I would describe it as a modern soul stepper well worth a spin (if it hasn't had any already).
Yvonne Keely & Steve Flanagan [1978] - We Got Love [Ariola ARO 130]
The only other recording I can find by Steve Flanagan is this duet with Yvonne Keeley which got a UK and Dutch release in 1978 which are both a pop/soul/disco numbers quite typical of the era.
Yvonne Keely & Steve Flanagan [1978] - Never Had Nobody Like You [Ariola ARO 130]
Marv Earl Johnson recorded the first 45 on Tamla in May 1959 'Come To Me'. He had his greatest success in the early 60s (released on United Artists) and ceased recording for Motown in 1968 but continued to work for them in sales.
He is another Detroit artist who joined up with Ian Levine and re-recorded 60s hits and new material in the 80s/90s. He died from a stroke in 1993 at the age of only 54.
His finest hour on the Northern scene was 'I Miss You Baby' issued on Gordy in 1966 but not picked up on until much later. It was issued in the UK as the flip to 'I'll Pick A Rose For My Rose' in 1969.
Marv Johnson [1966] - You Got The Love I Love [Gordy G-2077]
Another of my favourite Marv Johnson tracks issued on Gordy as the flip to I'll Pick A Rose For My Rose' is ' You Got The Love I Love' produced by Frank Wilson.
Marv Johnson [1967] - Save My Love For A Rainy Day [Unissued]
Marv recorded Save My Love For A Rainy Day (a big tune on the scene for The Van Dykes (Gordy) also done by Undisputed Truth) in October 1967, it was left on the shelf, where it stayed until 2002, when it was included in A Cellarful Of Motown compilation.
Marv Johnson [1969] - So Glad You Chose Me [Tamla Motown TMG 737]
Marv Johnson [1970] - Everybody's Gotta Pay Some Dues [Tamla Motown 5C 006- 90714 M]
Only got a 45 release in Holland in 1970, taken from the I'll Pick A Rose For My Rose' LP. It's a re-working of The Miracles track of the same name released on Tamla 54048 in 1961.
Marv Johnson [1970] - Sleep (Little One) [Tamla Motown 5C 006- 90714 M] The official A side of the Dutch release is yet another re-working, this time of the Herman Griffith track released on Motown 1028 in 1962.
Lawn was a subsidiary of Swan records which ran from 1960-65 of which this was the penultimate release in 1965. It appears that this was his only 45 and the only copies listed are white promos so it seems that it may never have actually got a release? It sounds very blue-eyed to these ears but nevertheless this was a monster all-nighter tune in the late 70s. Scanning through the Lawn roster, other notable 'Northern' acts include Modern Red Caps, Billy Harner, Jesse James and Larry Clinton.
'Put That Woman Down' and the flip side were written by General Norman Johnson (Chairman Of The Board) and is reminiscent of the style put out by The Showmen ('Our Love Will Grow') of which he (General Johnson) was a member and who also recorded for Swan.
Released in the UK on Destiny in 1979 owing to huge demand. Destiny was predominantly a Northern Soul reissue label owned by Kev Roberts (one of the original Wigan Casino DJs) which released between 20-30 records in 1979-80 including some 'taylor-made' cover versions by UK blue-eyed artists (many, it has to be said, of dubious quality).
John Leach [1965] - Love Don't Turn Your Back On Me [Lawn L-256-P]
Very rare blue-eyed soul from Danny Monday and one of the rarest singles released on Modern label. It is thought that it was never released as only original promos have ever been found. It was reissued/bootlegged in mid 70s (probably around 76 when it was big) on a white demo with black lettering (originals have red lettering) and a red stock copy, however no one 'in the know' has ever seen an original stock copy. It is said that the reissue is pressed from the same master plate in which case it is more likely to be a legal reissue to meet new demand than a bootleg ... but who knows? Originals don't crop up very often and the price reflects this. Baby Without You has been reissued a couple of times in the UK on Kent (1983 and 2002) and apparently Ady Croasdel (6Ts/100 Club promoter / DJ and runs Kent records) has several different takes of the track which presumably he has obtained from out takes on master tapes.
It is believed that Danny Monday is white, however you can not tell from the soulful flip side, which I actually prefer and is perfect for today's scene but would have been far too slow in the heyday of Northern Soul. Check out the sound clip below. The topside is a stomper.
After all this time there is still nothing known about the artist. This is pure conjecture on my part ... but I wonder if it may be one of the Vegas (real name Vasquez) brothers Lolly or Pat? This is based on the fact that the song was co-written by Jim Ford (who wrote Harry Hippie, Tell Me Why, Secrets, Where Do We Go From Here and many others for Bobby Womack) & L. (Lolly) Vegas. Pat had recorded a single in 1962 as Pat Vegas and they also recorded several 45s as a duo Pat & Lolly between 63-65. So why would they not use their own name of this? Well perhaps they were contracted with another record company at the time of release? They did record an album on Mercury in 1966 and a 45 from it, so perhaps the Modern 45 was a bit of moonlighting? Pat & Lolly went on to form Redbone in 1969.
I've read through Redbone's early history without any hints, however they did record under various aliases in their early years e.g. The Individuals (62), Deuce Coupes (63), Avantis (63/64), (NB the history article states that they were in Routers & Mar-kets but can't find any evidence of that!). In 1966 they were the resident band at The Haunted House in LA and recorded a live album which consisted of a lot of soul covers so they were disposed to sing soul at that time.
Lolly Vegas/Vasquez died of cancer in 2010, so possibly only Pat will be able to confirm or deny the above?
Since writing the above I have received an anonymous comment (March 2014 below) stating: "Danny Monday was white I knew him and his wife as a kid in L.A. He had a band then 'Danny Monday & The 2nd Revolution'. I saw him open for Wilson Pickett. They were too good and Mr. Pickett did not like it!" I thank whoever posted the comment but as it was anonymously posted I am not able to reply but if the person that wrote it reads this I'd be very interested in learning more.
Bootleg
Gene & Gary [2010] - Baby Without You [Kent 6T 26]
On the flip side of the 100 Club 31st anniversary giveaway 45 (which has the wonderful Paramount Four on the other side) is a version of Baby Without You by Gene & Gary. Curiously for this 45 Pat Vegas' name has been added to writer credits.
I've no idea who Gene & Gary are but definitely blue-eyed and (for me) nowhere near as good as Danny Monday's version.
Danny Monday [1966] - Good Taste Of Love [Modern 1033]
