Jackie Wilson in his Brunswick years (for me) could virtually do no wrong. This is superb Chicago soul from the golden period kicking off with a mute horn (which then features throughout the 2:20 minutes) and then in comes Jackie's so soulful and distinctive vocals. Co written by Carl Sims and the orchestra led by Gerald Sims, this track was featured on 'Whispers (Gettin' Louder)' LP. On the flip is 'Just Be Sincere'. This is about the best double sider you could ever find, neither fared particularly well on Billboard at the time and hence were picked up on in the North of England and became Northern Soul classics.
Jackie Wilson [1967] - I Don't Want To Lose You [Brunswick 55309]
Jackie Wilson [1967] - Just Be Sincere [Brunswick 55309]
The Bell Boys [1967] - I Don't Want To Lose You [Jamar J-31968729]
It was covered by the Bell Boys. Their version was popular on the scene probably because it was a speeded up version. The slightly off-key vocals and brash horns and 'stripped down' version add to its attraction.
The Bell Boys were from Western Pennsylvania. in 1966 consisted of Sam Marcitulio (guitar), Pat Safara (guitar), Vic Rangle (bass), Joe Merando (drums)). Lenny Rock (lead vocals) joined in 1967. In 1969 they added a brass section and Tony Castnza (saxophone), John Lambo (saxophone), Jim Jackson (trombone), Tom Hunt (trumpet) joined.
It seems that they only recorded 'I Don't Want To Lose You' but it was issued 3 times, all on Jamar (based in Akron Ohio) but initially as 101 with an instrumental version on flip, then on 101 with 'I Got A Feeling' on flip. It finally came out on 31968729 with The Woman I Love on the flipside.
This is an 'evergreen' early 60s Detroit RnB dancer with all the right ingredients for an all-nighter.
Correc-tone was one of the early influential Detroit independent labels. Unfortunately there were only 11 releases before it folded owing to cash flow problems. Many of the artists are well known and loved in Northern Soul circles such as Wilson Pickett (who had the first release on the label 501), Yvonne Vernee (featured earlier in the NS600 series) and Danny Woods all having solitary releases and Theresa Lindsay who would issue 3 45s on the label. Read all about Correc-Tone @ SoulfulDetroit
Danny Woods would later go on to join Chairman Of the Board on Invictus after Holland Dozier Holland left Motown in 1967 teaming up with General (Norman) Johnson, Eddie Curtis and Harrison Kennedy. General Johnson had previously been lead singer with The Showmen who had a monster on the scene with 'Our Love Will Grow'.
Danny Woods [1965] - My Love Will Never Be The Same Again [Correc-Tone 1052]
Danny Woods [1967] - 90 Days In The County Jail [Smash S-2106]
Danny Woods [1967] - Sweet Darling Angel [Smash S-2106]
Danny Woods [1968] - Come On And Dance Part II /To Be Loved [Smash S-2140]
Danny Woods [1968] - I Want To Thank You (Fort Love And Devotion) [Smash S-2159]
Danny Woods [1968] - Come On And Dance Part I [Smash S-2159]
Danny Woods [1972] - Let It Ride [Invictus Is-9116]
Danny Woods [1972] - It Didn't Take Long [Invictus Is-9116]
Danny Woods [1972] - Everybody's Tippin' [Invictus Is-9132]
Danny Woods [1972] - Roller Coaster [Invictus Is-9132]
Danny released a solo LP 'Aries' on Invicus in 1972. The stand-out tracks are his solo version of 'Working On A Building Of Love', 'Roller Coaster' and 'Two Can Be As Lonely As One'.
544 The Belles [1966] - Don't Pretend [Mirwood 5505]
b/w:
Words Can't Explain
Format:
45
Label:
Mirwood
Cat No:
5505
Year:
1966
Value:
£150-£250
This is archetypal Northern Soul. If anyone wanted to know what Northern Soul sounded like then this would be the template. Even though Mirwood was based in Hollywood, LA, California, this sound could have easily been mistaken for Detroit.
Having said that though it is hardly surprising because even though in 1966 the official line-up was Sherlie Matthews, Debra Dion, Rose Mary Bailey, Patricia McElroy, apparently the recording of the track was undertaken by Matthews along with Brenda & Patrice Holloway (Josie & The Pussycats) both of course Detroit artists allegedly signed under fake names as Brenda was already signed to Motown. It was re-issued (bootlegged?) on Simon Soussan's 'Soul Fox' label to meet demand in the 70s.
It was also issued in the U.K. on Blues & Soul's Contemporaries label, which was for re-issues.
The Belles [1966] - Words Can't Explain [Mirwood 5505]
The Belles - Let Me Do It [Soul Fox SF-1001]
It was The Belles only 'official' release on Mirwood, Another track entitled 'Let Me Do It' surfaced mid 70s and was released as The Belles by Simon Soussan's on Soul Fox label, however the original is 'I Wanna Do Everything For You Baby' by The Mirettes and was not released 'officially' until 2006 on The Mirwood Story Volume 2 CD on Kent in UK.
The following article was copied from The Soul Guy website. I would have linked to it but it is no longer online.
Multiple Gold Record Producer And Singer-Songwriter Sherlie Matthews
In Conversation With Rob Jones
Sherlie Matthews started performing as a soloist in church at the age of two. At age four, she began harmonizing, singing alto parts in vocal duets with her 2 year old sister. Sherlie's grandmother, who was an accomplished musician/composer, recognized their musical talents and was Sherlie's first piano/voice teacher and mentor. She provided piano accompaniment for Sherlie and her sister for many, many years at various local venues, tea parties, weddings, church services, concerts, etc. From her early nurturing Sherlie continued to develop natural abilities for all phases of the performing arts, through school, college, community and professional workshops.
Sherlie's acting career began in elementary school plays, where she was encouraged by teachers to pursue drama as a vocation. While attending Jefferson High School, she starred in several drama productions, was a principal soloist with the school choir and participated in student leadership and athletics while maintaining scholarship excellence. Sherlie continued this same pattern throughout her Los Angeles City College years through Graduation from UCLA.
At the age of 10 yrs Sherlie began setting bible verses to music to help children learn bible texts and has written and arranged over 500 songs, both secular and sacred, three children's musical-comedies, two movie themes, and several commercials, along with innumerable vocal arrangements. Many of her works are currently being performed internationally on recordings, television, internet, radio, and in churches and schools.
After earning a living for several years as a Medical Social Worker, Sherlie embarked on an illustrious career in the music industry, barely reflected by her abundant resume. Writing, singing and producing for Mirwood Records, Sherlie created most of their early hits for artists: Jackie Lee, The Olympics, Bobby Garrett, The Mirettes, The Belles and Bob & Earl. Frank Wilson, an intimate friend, who was a producer/writer with Motown Records, enhanced Sherlie's professional career when he introduced her to that record company in December,1964. Soon thereafter, she was signed as a singer/songwriter/producer.
Sherlie performed onstage with Diana Ross and Lionel Richie and the Commodores and wrote and produced recordings for: The Jackson Five, The Supremes, Diana Ross & Marvin Gaye, Martha & The Vandellas, The Four Tops, The Blackerries (Venetta Fields, Clydie King and Me), The Celebration and Stacie Johnson. She also collaborated with former boyfriend, songwriter/producer, Deke Richards, on many of the above projects.
Sherlie Matthews' voice has become a familiar sound as a result of her work in voice-overs, commercials and as backup for many popular recording artists. Several of the songs you might be familiar with are "Stayin' Alive" with the BeeGees, "With A Little Help From My Friends" with Joe Cocker, "Signed, Sealed, Delivered" with Stevie Wonder, "Touch Me In The Morning," with Diana Ross, The "Aja" album with Steely Dan, "Take Me In Your Arms (Rock Me a Little While)" and "I Been Workin' On You" with The Doobie Brothers, "The Bitch Is Back" with Elton John and "Sweet Home Alabama" with Lynyrd Skynyrd.
Sherlie lived and worked in Australia from 1984 through 1988. While there, she worked with Venetta Fields and Chong Lim in three groups,'Yu En,' 'Venetta's Taxi,' and 'The Gospel Jubilee.' During this time, she formed and recorded an 8-member group of children called, BABE. Currently, two members of that group are, Danielle de Niese, an acclaimed opera star (now residing in America) and Murray Golding, a successful Australian singer/model. She toured that country as a background singer with pop star Tim Finn," also 'Skunk' Baxter and "My Old School" band. Sherlie also shared the stage with her co-singers, Tony Faeshe and Robert Price, in the group, The Hi Tones.
Returning to the USA, when her family's situation demanded her full time help, Sherlie completed a three year course at UCLA, earning a degree in Computer Graphics/Animation and has just finished directing, writing and arranging songs for a children's choir, "Out Of The Mouth Of Babes." Currently, she is sole producer, singer and arranger on her just released CD "We Come As One" which she describes as '10 sacred songs gone bad.'
With her sister Sherlie wrote and produced eleven sacred songs for the CD, "A Fuzzy Ball Of Fur" featuring a children's choir, A Band Of Angels.
Sherlie Matthews wrote, arranged and produced a selection of sacred originals for the female octet The Circle Of Love. This harmonious group performs both a'cappella and to accompanied music.
How did you first get involved with the Mirwood label?
My friend, the arranger, James Carmichael introduced me to the label. He was working for them at the time. I started as a background singer and advanced to writing and producing.
Do you have any particulary fond memories of your time there?
I was so naive at the time...all of my experiences were fond. It wasn't until afterward that I discovered that I had been, and still am being, cheated out of royalties. That aside, working with Bob & Earl and the Holloway sisters were the happiest of times. I love singing and creating music, so that atmosphere was very pleasant.
You wrote many songs for various Mirwood artists including Anything You Want, Any Way You Want It (Jackie Lee) You're Everything (Jackie Lee) The Neighborhood (Jackie Lee) Baby Do The Philly Dog (The Olympics) We Go Together (Pretty Baby) (The Olympics) Same Old Thing (The Olympics) Mine Exclusively (The Olympics) Don't Pretend (The Belles) Cupid's Got A Hold On Me (The Belles) Words Can't Explain (The Belles) I Wanna Do Everything For You Baby (The Belles) He's Alright With Me (The Mirettes) Now That I've Found You Baby (The Mirettes) Keep It Coming (Bobby Garrett) I Can't Get Away (Bobby Garrett) Big Brother (Bobby Garrett) My Little Girl (Bobby Garrett/Sherlie Matthews) Oh My Darlin' (Jackie Lee) The Shotgun And The Duck( Jackie Lee) Your Personality (Jackie Lee) - do you recall what your inspirations were for any of these songs and where they were actually written?
"Baby Do The Philly Dog" and "The Shotgun And The Duck" were written precisely for dance tunes. "Your Personality" was a concept/novelty tune. The rest of my songs were based upon my own true life experiences.
For some time now, I've been curious about an old photograph I saw of Bill Cosby at the Mirwood studio - did he have any involvement in any recording sessions?
Bill Cosby was a friend of Fred Smith's at the time. Delores Hall and I sang background on his one and only vocal solo album. Other than that, he had no involvement in any of the recording sessions that I worked on.
There is conflicting information regarding the original members of the Belles, with whom you recorded - some sources list the band members as Sherlie Matthews, Debra Dion, Rose Mary Bailey and Patricia McElroy, while others say Sherlie Matthews, Brenda and Patrice Holloway. Could you tell us which line-up sang what?
Sherlie Matthews, Brenda and Patrice Holloway were the original Belles. Because of contractual conflicts their names could not be used.
Were there any other Belles recordings which never made it to release?
Probably, but you'd have to contact Charlie Cronander, Fred Smith's widow to get an answer to that question. We sang on so many Mirwood Recordings...it's hard to keep track.
Do you have any particular favorites among your Mirwood compositions?
"Oh My Darlin" "Baby Do The Philly Dog" "My Little Girl" "Big Brother" (recorded by Bobby Garrett) "Cupid's Got A Hold On Me" and "Same Old Thing"
Could you tell us the story of My Sugar Baby - there still seems to be some confusion as to whether or not the release that surfaced back in 1975 is an authentic Sherlie Matthews recording. This is my original song and my original recording, however the sound has been sped up...the background voices are me and the Holloways. In that unnatural register it was hard to recognize my own voice. However, after our interview I listened to a version of the original on a CD that Venetta Fields sent to me years ago and yes, that is my voice singing the lead.
After leaving Mirwood, you were introduced to the Motown Record Company by Frank Wilson, what were your experiences like there?
Unbelievable! I sang background with my group, the blackberries, whom I named after Berry Gordy. We not only recorded an album which was never released, but we sang background for every West Coast recording artist for the label. I also wrote songs for and produced albums for The Jackson Five, Diana Ross & The Supremes, The Four Tops, Lionel Richie And The Commodores and many others. I also toured and performed onstage with Diana Ross and also with Lionel Richie.
Which have been your most memorable stage performances and why?
TV series regular singer with The Red Skelton Show. The weekly series was fast moving, we had to learn several songs for each show then perform them during the weekly telecast. It was a lot of hard work, but fun. I enjoyed this series more than the many stage performances with vocal artists.
Which artists have you most enjoyed working with?
Red Skelton, Kris Kristofferson and Rita Coolage, Linda Ronstadt, Burt Bacharach, Joe Cocker, Lena Horne, Paul McCartney & Wings, Ella Fitzgerald, Chicago, Steely Dan, Seals And Croft. In Australia, Hi Tones, Tim Finn, Jeff (Skunk) Baxter And My Old School and Venetta's Taxi.
Could you describe a day in the life of Sherlie Matthews?
I awake between 4am and 7am, drink lot of fresh water, fresh orange juice, stretch then go out for a brisk mile walk, return and feed my dog, eat a large breakfast (I'm vegetarian, so breakfast is the largest meal of the day), go to my computer, answer emails, check my websites, embark upon my daily schedule which on any given day may consist of rehearsals, meetings and recordings. I always find time to write the latest installment of a novel that I've almost completed.I get into my music, write, arrange, record or listen to the latest song that I'm working on. In my spare time...usually when I'm bored with my daily grind, I also make movies of favorite pictures from the net and synchronize them to music for my own enjoyment. Every morning and evening I spend time reading. I usually fall into bed between 11pm and 2am.
Could you tell us about A Band Of Angels and Circle Of Love
Click here for A Band Of Angels: http://cdbaby.com/cd/abandofangels Likewise, for The Circle Of Love, click here: http://cdbaby.com/cd/circleoflove and here: http://sherliematthews.com/music.html
Do you have any plans to return to the UK?
Absolutely, yes. I also have plans to perform with my new Gospel group in Italy, Australia, Sweden, Japan and China so far...
You have a new solo CD set for release soon, is there anything you can tell us about this at the moment?
My new solo CD, "We Come As One" (10 sacred songs gone bad) has just been released. My cover label features a comically drawn self-portrait. I'm offering the public, raw renditions of 10 original sacred songs. I call it "the worst CD you've ever heard," because the sing-worthy songs were recorded over the years in my home studios, with obvious flaws. CDBaby is handling the distribution. http://cdbaby.com/cd/wecomeasone (this website will be functioning in a few days - CDBaby is setting up.)
543 Martha Starr [1966] - Love Is The Only Solution [Thelma T-112]
b/w:
I'm Lonely
Format:
45
Label:
Thelma
Cat No:
112
Year:
1966
Value:
£?
Martha Starr had the final 3 consecutive releases on Detroit's now legendary Thelma label. This release along with 111 'No Part Time Love For Me' have been huge sounds on the scene over the years.
111 - Martha Star - No Part Time Love For Me / It's Too Bad Baby
112 - Martha Star - Love Is The Only Solution / I'm Lonely
113 - Martha Star - I Wanna Be Your Girl / Sweet Louie
The mainstay on the label was Emanuel Laskey who had no fewer than 7 of the label's 24 releases. Other notable acts on the label included Joe Matthews ('Ain't Nothing You Can Do' fame), Rose Batiste and Will Hatcher.
Played by Butch in early 90s covered up as Tobi Lark. This is quality mid-tempo / crossover 'right up my street'!
This labels cataloging system leaves a lot to be desired as there are no less than 3 C-35 's and 2 C-34's and 6 C-33's!!!! But I would guess this was released around 1968/69.
Cressa Watson [1986] - Sweet Temptation
It turns out that 'Sweet Temptation' was also recorded on Charay by Cressa Watson who also recorded as Carolyn Sullivan on Philips. I think this version just edges it for me over Martha Starr's ! This 'version' was released on a 1986 compilation '20 Great Unknown Soul Classics of The 60s and 70s'
Ward Burton [1966] - Sweet Temptation [Panther PAN 5A] Ward Burtons' real name was George (not Ward). He passed in 2015. The writer of the song Will Hammond claims his name was Heyward which he later shortened to Ward when working in Vegas, Reno and Tahoe in 1966. This record was bootlegged in 2017.
Now here's an interesting anecdote left by the writer/producer Will Hammond to a posting of this track on YouTube. He says: "Martha Starr is the original. I wrote the song for Mary Wells in the same vein as 'My Guy'". In another comment he states: "Martha Starr and Cressa Watson are the same. It's the same record with just a different artist name. I don't know where the Cressa Watson thing came from, but listen closely and you will hear they are exactly the same. I actually gave her (Carolyn Sullivan) the name 'Martha Starr'. I wrote and produced the Ward Burton and Martha Starr versions..... but have no idea why the Cressa Watson version came out. Just crooked 'hanky panky' that goes on in the record business. Ther is NO Cressa Watson. ... So now does that mean Caroyln Sullivan is Martha Starr? To confuse things further Carolyn Sullivan's Dead has been credited to Carolyn Summers and Carol Summers
Written and produced by Freddie Briggs and Jack Taylor. This is a highly regarded stomper on the scene from the, up until now, elusive International G.T.O.s.
The following information was culled from comments from member group Tommy Lockhart in response to the You Tube video of The International GTOs.
"The International GTO's (The GTO means 'Gran Trismo Orgettos') were baritone, Willie Powell, 2nd tenor,Tunde Aleem (then Arthur Allen), 1st tenor Norman Dade and lead, Tommy Lockhart. They recorded between 1963-65. They were also known as the Master Four who recorded for Jet Set 'It's Not The End' (doo wop)." Tommy Lockhart
'Willie Powell has since passed. Tunde and his brother are a successful songwriting and producers in the field (Tunde passed around 2015), Norman travels throughout the world in the gospel field and Tommy sings with the Sheps (an acapella vocal group) and the Legendary Teenagers (with the existing members of Frankie Lyman's group). '
I note that Discogs links William Powell to Big Foot, Henry Murray Jr., Juggy Murray Jones but I don't see how it can be Juggy Murray Jones as he set up the NY Sue label in 1957 .. so why would he be recording on another label?
They recorded first as The International G.T.O.'s and then as The Master Four. They were uncredited backing Big Maybelle on the A-side of It's Been Raining / Don't Pass Me By [Rojac 1969 (66) and they were The Master Three on Wesley Paige & The Master Three - I've Got To Find Out for Myself / Better Days Are Coming [Rojac 113] (67)
Rojac 1007 - International G.T.O's - It's Been Raining In My Heart / I Love My Baby - 1966
130 - The Jet Set - Mojo Man / This Is Not The End 1969
Tay-ster
6012 Master Four - Love From The Far East / It's Not The End 1967
6015 Master Four - Love Has Taken Wings / Where Have You Been 1967
6124 Master Four - Love From The Far East / It's Not The End 19679
Other notable releases on Rojac:
112 - Big Maybelle - Ninety-Six Tears / That's Life - 1966
118 - Big Maybelle - I Can't Wait Any Longer /Quittin' Time - 1968
International G.T.O.'s [1966] - It's Been Raining In My Heart [Rojac 45-1007]
Master Four [1967] - Love From The Far East [Tay-ster 6012/6924]
Master Four [1967] - It's Not The End [Tay-ster 6012/6924]
"It's Not The End was recorded two days before Thanksgiving in 1962. I co-wrote it with Arthur Allen when he came up with the idea when we worked at HARYOU-ACT in the early 60's. The song was recorded with the vocals and instruments at the same time and the recording was over within 10 minutes. No overdubs or voices added. It was in and out of Bell Recording Studio and still time to get home for dinner. I sang the lead and never lived in Central NJ, but I sang for many years with an acapella group called the Sheps from Jersey. I now reside in Georgia." Thomas Lockhart 2019
The Jet Set [1969] - It's Not The End [Rojac 130] I am led to believe that this is The Master Four under the name of The Jet Set releasing the same song on Rojac.
Master Four [1967] - Love Has Taken Wings [Tay-ster 6015]
Master Four [1967] - Where Have You Been [Tay-ster 6015]
Jimmy Robins was born as James Ray Robbins on 31st July 1934 in Texas and recorded about 14 45s between 1958 and 1972 under several pseudonyms such as Robbin Ray, James Robins, Jimmy Robins, Jimmy 'Preacherman 'Robins and finally in a duo Patrizia and Jimmy, recording for labels such as Combo in 50s, Federal, Jerhart (the featured track is his first of 2 45s on the label which was originally issued on Impression 108), 20th Century, Kent, Tangerine in 60s, Convoy and Ala in 70s.
I Can't Please You is a gritty, driving 60s RnB dancer which appears to be the staple of today's Northern Soul scene. Unusually for a Northern record this one made 21 in the US Billboard charts in 1967 which would suggest that there are quite a number of copies still in circulation.
As well as the Chicago label Jerhart, it was also released on Hollywood label Impression 108
The Impression label release is the rarest, it is much rarer than the U.K President issue. Impression label copies very rarely come up for sale and are usually demos. Apparently the issue copies had their labels reversed and were withdrawn for this reason which probably explains their scarcity.
Jimmy Robins [1966] - I Made It Over [Jerhart 207] Deep soul flip to I Can't Please You
Detroit, Steve Mancha and Mike Terry! A good pedigree for any Northern Soul tune and this one doesn't disappoint. From the price tag you can detect that this one is pretty rare and hard to find.
The Just Brothers were brothers Jimmy and Frank Bryant and several session musicians. Their instrumental song "Sliced Tomatoes" was a Northern dancefloor hit in 1972 that was later sampled in Fatboy Slim's "The Rockafeller Skank."
Frank Bryant became a session musician in the mid-60s in his hometown Detroit while his brother Jimmie was completing military service. His early credits included the bassline on Gino Washington's "Gino Is a Coward" and vocals on J.J. Barnes' "Lonely No More" at Mickay's Records. Frank also co-wrote J.J.'s "Deeper in Love", and Steve Mancha's "Let's Party."
After Jimmie's return, the Bryant Brothers were recruited into a session group for Winifred Terry of the Drifters by the group's drummer Richard Allen. The session was intended to record a song called "Honey" and a "B" side. The musical tracks were completed when the hired vocalist was deemed unfit to record the song. Frank took the opportunity to point out his and Jimmi's vocal talent. Convinced by Frank, Terry agreed to give them a stab at recording the two songs. At the subsequent session Bryant Brothers sang on "Honey" and their songs "Things Will Get Better" and "She Broke His Heart."
The track recorded to be the "B" side was titled "Sliced Tomatoes" and released in 1965 backed with "Things Will Get Better" on the Lupine label. Later that year a pairing of "She Broke His Heart" and "Things Will Get Better" was released on Terry's Empire Record Label. "Carlena" was released on Terry's Garrison label. None of the tracks were successful and the Bryant Brothers returned to session work.
In 1969 with new member Willie Kendrick, the Just Brothers negotiated a deal at Johnny Nash's Jomada label. They recorded one unreleased track before being kicked off the label. Their track was later redone by a white vocalist. Terry helped out the group again organizing the re-release of "Sliced Tomatoes" on the Music Merchant label in 1972. The Just Brothers recorded two new tracks "Tears Ago" and "You've Got The Love To Make Me Over" for the Pied Piper label originally meant for an uncompleted album. These ended up backing "Sliced Tomatoes" on its single releases.
The Bryant Brothers later fronted a local group named the Firebirds. Jimmy Bryant died in 1996.
The Just Brothers [1971] - She Broke His Heart [Empire / Garrison 3003]
Just Brothers [1972] - Things Will Be Better Tomorrow [Lupine L-0002 / Empire] This tracks was released twice, first on Lupine in 1965 c/w Sliced Tomatoes and then on Empire in 1972 c/w She Broke His Heart.
Just Bros. [1972] - Sliced Tomatoes [Lupine L-0001]
Just Brothers [1972] - Tears Ago [Music Merchant MS 1002] This is the flip side of the 2nd release of Sliced Tomatoes
Just Brothers [1972] - You've Got To Make Me Over [Music Merchant MS 1010] This is is is the flip side of the 3rd release of Sliced Tomatoes
