Denny Jorden with the Fortuneaires

14263 – You Don’t Know
(Walter Spriggs, Roosevelt Music BMI)
2:10

14264 –You’ll Be Lonely
(Dennis J. Bejester, Jorden BMI)
2:00

Denny Jorden with the Fortuneaires

Boss 2001/2
Detroit, Michigan
Year : 1965

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Dennis Jorden Bejester, at a time guitarist of Detroit local band The Jesters, had at least two other records pressed by Rite Records. He died in 2003.

Northwest Sound Company NSC-1007/8 -- '63
(as by Dennis Jorden)

11447 ~ Since I Met You Baby
11448 ~ Any Message

Blanden 2003/4 -- '66
(as by Denny Jorden and the Berkeleys)

18195- Here I Come (Through The Door)
18196- Do You Want To Dance

Zion Traverlers on Versa

Versa Recording
2033 Dorr Toledo, Ohio

Year : 1977

38095 - Glory is Coming
38096 - Ship of Zion

Produced by Noble’s
Produced & Led by LeRoy Reed
Music by Glover, Curtis, George Noble

Shirlean Williams & The Tempo's Band

Shirlean Williams & the Tempo's Band

Elvitrue 673

36543 – This is A Song
36544 - Ease It To Me

The Fabulous Tempo’s, a group from Fayetteville,
featured Nolla--Mainor, second from the left,
and Shirlean Williams, third from--the left.
Image courtesy of Jason Perlmutter.

Jason Perlmutter :

The story of Fayetteville group The Fabulous Tempo’s would emerge despite a slightly rocky introductory telephone conversation. In September 2003, I contacted Shirlean Williams, the vocalist on an obscure but great 45 rpm record by “Shirlean Williams & The Tempo’s Band”. She said she didn’t sing “rock” anymore – she was now involved in the church and making gospel music – and I should be really talking to the band’s owner. This would be Fayetteville’s Nolla Mainor, whom I immediately telephoned.

At the beginning of our conversation, I expressed my love for and my desire to learn more about “the Shirlean Williams record”. This was a mistake. Nolla was upset and declared, “That’s my record! That’s not Shirlean’s record. She messed it up! I brought her up, but she was overconfident and didn’t rehearse and then sang herself hoarse trying to make the record.” I admitted my error, and we proceeded, more cordially. I learned about Nolla’s history in the local music scene, which dated back to the mid- ‘60s, with her first bands, the Soul Rockers and the Be-Boppers.

Hearing Nolla Mainor reminisce in 2003 meant hearing from a fiercely proud woman. And justifiably so: Nolla is a self-educated musician who may well have been the only female band leader in ‘60s and ‘70s North Carolina. After disco, her commitment to music didn’t wane; she successfully adapted by becoming a club deejay known to fans as “Queenie” and/or “Queen Bee”. Now, vintage equipment, consisting of large PA speakers and amps, two turntables, a mixer and microphones, occupies a good chunk of her living room. The blue- and black-colored release of “This Is A Song” and “Ease It To Me”, by Shirlean Williams & The Tempo’s Band, hangs on the wall, overlooking the equipment.

The Fabulous Tempo’s quietly handed out free copies of this, their only release, to dance contest winners at local gigs. There were no lucky breaks, and the record – only pressed in a quantity of 250 copies – would be forgotten. This wasn’t an issue of quality, even though the origin of the killer B-side is a little sketchy. Set this track into motion and within seconds you’ll instinctively be singing, “Without love, where would you be now / Without love-ove-ove-oo/Where would you be now.” But you’ll quickly realize your error as the Doobie Brothers’ indelible “Long Train Running” riff morphs into Nolla’s own rhythmic, sexual Fayetteville funk, with pulsing drums and congas, twangy guitar and punchy Hammond. This isn’t really a song so much as a funky vamp on top of which Nolla and her drummer make their way through an innuendo-shaded dialogue:

Nolla: Hey man, whatcha doing over there?
Drummer: Trying to get this girl to ease it to me.
Nolla: You know all you need to do man?
Drummer: Tell me about it.
Nolla: All you need to do is blow your horn.
Drummer: Blow my horn?
Nolla: Yeah, blow your horn.

Midway through this exchange, the words and music break for a thumping drum and conga solo that ensures that this is much more special than a rock ‘n’ roll rip. Coincidentally, earlier in her career in ’67 or so, Nolla seems to have lifted a few bars from “Open The Door To Your Heart”, by Detroit soul legend Darrell Banks, for her funky instrumental “Reach Down And Get It,” recorded by the Soul Rockers.

JASON PERLMUTTER has been researching N.C. soul groups and plans to one day write a book on the subject.

KOGT radio, PAMS jingle

KOGT Radio

CP-7019 - Orange, My Home Town (PAMS Production)
Vocal: Terry Lee
CP-7020 - Orange, My Home Town (PAMS Production)
Instrumental

"In 1961 the Pams jingle company in Dallas launched it's "My Home Town" series of jingles. The basic premise was a two minute song that sang the praises of a particular city, naming the best sites, attractions and such. They all start with "Let me tell you about my home town....." This one was cut for their client KOGT 1600 am in Orange, Texas. Orange is a small town of about 35,000 just up the water from Port Arthur and Beaumont, near the Louisiana border. Where many of these discs sing about the big things in their cities in this small-town song they're bragging about the waterways, mighty industry, Chemical Row, the shipyards and the community band."

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Orange, My Home Town (sample)

Marie Therese Leahy (aka Terry Lee)

While Terry was consistently the main singer on these records, her name credit on the "My Home Town" singles is anything but. Variations on her name have included “Terry Lea," "Terry Lee,” “Terry Lea Jenkins," and "Terry Lee Jenkins.". Read more about Terry Lee HERE

More about the PAMS singles HERE

KOGT
CP-7021 – The Master’s Visit
CP-7022 – A Moment spent with God
both sides written by Ed Lovelace

I’ve never known a better promoter than Ed. He rode around the county in a bright orange van with the call letters of KOGT painted on it. He promoted Orange at every turn. When he arrived, he brought the AM station out of the dark ages. (from Roy Dunn's article, read HERE)

Ed Lovelace died last month (October, 2009).

Ernie Bivens : American Artists 668

Ernie Bivens

American Artists 668

21507 - Back to Shenandoah
21508 - I Left My Heart at Home

Country produced by "Bones" Butler

Rehabilitation Cruise

21119 - I Don't Care What They Say
21120 – Mini Skirts [L.Owen]

Label : Rondon

1968 Wisconsin garage. A-side is against protest and B-side is against mini-skirts.

I Don't Care What They Say



Mini-Skirts

The Smoky Mountain Cut-ups on Redwing

The Smoky Mountain Cut-ups

Redwing
Rogersville, TN

1965

15071 - The Old Mountaineer
15072 - Smokey Mountain Ramble

Bluegrass

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Smokey Mountain Ramble
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The Old Mountaineer
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Johnny and the Cranwoods

Johnny and the Cranwoods

Mate Records
Hollywood, California

CP-6241 – Uprising
(Gruded -Maduri- Kohler, Mate BMI)

CP-6242 - Teach Me To Say Goodbye
(James Testa)

Rite account # 137

[1961]

"Garage Surf sound twangy guitar".

Despite the Hollywood address printed on the label, it's certainly a Cleveland, Ohio related record :

• The Rite account number (137) is associated with the Audio Recording Service Studio of Cleveland, Ohio, presided by Vladimir Maleckar.
• Writers Maduri (Carl Maduri), Kohler (Donna Jean Kohler) and James Testa are names found on various Cleveland recordings.

Six Voices of Zion of Columbia, S.C. : Pitch 110

Six Voices of Zion of Columbia, S.C.

Pitch 110

18443 – Another Year
18444 - When My Times Come To Die

The Pitch label was a product of the Gusman Records Co., owned by W. Jones.

Waymon Jones abandoned his studies and opened the Gusman Co record shop at 1210 East Broad Street in Savannah. “Gusman” was his nickname since childhood, derived from his middle name. From the outset the Gusman Co was a gathering place for local gospel singers, and Jones built a recording studio attached to the shop. Read more HERE.

Pitch 110 come with two different label variations : one has the mention "Distributed by Triway Sales Co. Savannah, Georgia" and an additional (release?) number 366-1126. The other don't.

Dubondi on Rap

Dubondi

Label : Rap

27923 - Being Away - sample
27924 - Call Me Back sample

Producer : Bill Encke
Both sides written by Paul Gerholdt
Publisher : Monroe-Ames Music BMI

Tony Garo on Pla-Mor

Tony Garo

Pla-Mor
[ 507, 5th Ave., N.Y. 17, N.Y ]

CP-6425 ~ Whole Lot of Shakin'
CP-6426 ~ Jezebel

"Reviewed" in Billboard, October 30, 1961 (actually a mere item among others in the Limited Sales Potential listing (Popular section) of the music trade magazine) without any comment.

The following week, Pla-Mor Records advertised in Billboard the record with a picture (see above) of Tony Garo.

"Whole Lot of Shakin'", a cover of the Jerry Lee Lewis classic, was first compiled by the german Buffalo Bop records company in 1992.

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"Whole Lot of Shakin'"

Sportmen L.T.D. on Harvey's

Sportmen L.T.D.

Harvey's Records - # HR 15
Harris enterprise A.F.M.

34461 -Sometime Home Coming
featuring Art StClair

34462 - Irresistible You
(Lloyd & Logan)

1975

S Whit Denson / Denson Quartet

Jet Magazine, July 9, 1964

S Whit Denson / Denson Quartet

Denson Ep 555

9101 – I Won't Turn Back / New Morning Sun
9102 - The Better Land / Wonderous Love

Sacred Hillbilly Music Birmingham, Alabama.

The Denson family has been active in composing, arranging, and performing Sacred Harp material since 1844; Whit Denson was a third-generation Denson who led a number of Sacred Harp groups on important early recordings in the twenties and was noted for his very smooth, almost sweet alto voice.

About Sacred Harp Singing

Sacred Harp singing -- a form of Southern gospel music that's rather obscure to much of the general population -- "is characterized by mass participation, full-voiced singing, lack of instrumental accompaniment, and rotation of song leaders."

What is Sacred Harp Singing?

* Sacred Harp singing is an American folk tradition of singing hymns and gospel songs from The Sacred Harp, a 150 year old songbook that uses shaped note heads to indicate position in the scale.
* This is the type of singing that took place in the church scene in Cold Mountain.
* Sacred Harp singing is a participatory event, not a performance, although visitors are welcome to come and listen.
* The singers sit in a hollow square facing each other and take turns leading songs, which are sung in several parts without instrumental accompaniment.
* The music has a distinctive open and modal sound, and the singing is usually exuberant, rhythmic and full of feeling.

Minnesota State Sacred Harp Singing Convention Midwinter Singing Sunday Brunch, St Paul, MN, 2/10/08. The first two verses of "I Won't Turn Back" by Whit Denson (abridged due to camera limitations).
[Source : YouTube]

Removed

Content removed according to the wish (injunction?) of the artist received through his Business Manager (?).

All this material is copyrighted by the author. Mr. X... does not wish to have his cover art nor his album listed on your blog. Please remove at once.

Be happy, Mary. it's done. Your wish come true.




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Rocken Breed

Rocken Breed with Bill Turner vocal

Karmony Ltd.

30351 - Lady Lady
(wr. Gene Toennisson)

30352 - She Tells Her Lies

Arranged by David Sams & Bill Turner

Rite account # 5561


Dave Sams

I've tracked down recently one of the group member, Dave Sams, and here is what he recalls :

It was recorded at a four track studio in Fairfield, Ohio that was owned by Frank Ruhl. He owned a business selling British sports cars, Karmony Ltd. For him this was strictly a hobby project. There was never any distribution, no airplay, as far as I know none were ever sold. My cousin Gene Toennisson wrote the songs. He had just been drafted and was away. Bill Turner sang, the drummer, I can't remember - he was a session player. I played bass and guitar and did harmony vocals, Frank Ruhl was the engineer and he did the session for free. The Band played only a few gigs and not long after the recording I too was drafted. Years have passed, I have some of Gene's songs on my web site

Major Williams on Bull

Major Williams

Bull 2000/2001

-1964-

15061- Fall In Love With Me
15062 - Don't Let Them Forget

Soul. Little-Phelps Productions. Norfolk, Virginia. [Short] sample.

Born in 1922, Major Williams was later involved in the recordings of Lil Major Williams (aka Major Williams, Jr. born 1953, believed to be his son) - he co-wrote the songs - and was member of the Soul Crusaders :

• Palladium P-651 Lil Major Williams : "Girl (You're So Sweet, You're So Fine) / Girl Don't Leave Me "
• Williams III : Lil Major Williams - "Girl (You're So Sweet, You're So Fine) / Girl Don't Leave Me "
• Dialee (Leon Michison production) The Soul Crusaders- "Big Nickle / Soul Cruise" (vocal by Major Williams), 1969

The three labels above were located in Houston, Texas.

A Phelps production :

Norman, Willie and Earl Phelps grew up in the town of South Norfolk (now part of the City of Chesapeake) in the 1910s. The talented brothers were a natural combo, with bass singer Norman playing bass and guitar; baritone Willie on guitar, drums and washboard; and Earl, the youngest, singing sweet tenor and playing fiddle and mandolin.

The brothers made the rounds of local clubs and radio shows, where their beautiful harmony and playful style gained them a loyal following. In 1936 they tested their wings on the national circuit, traveling to New York City and then to Hollywood, where they appeared in 17 films released between 1937 and 1941 – including Painted Desert and Rawhide.

The Phelps returned to South Norfolk in 1940, where they continued to write music, record and perform. Norman and Willie served their country in the US Army and US Navy, respectively, during World War II, while Earl was excused for medical reasons and kept the band going at home. After the war, the three bought the old Norfolk County Club, renaming it Fernwood Farms. The club boasted the largest dance floor on the East Coast, with plenty of room for fans to swing out. The brothers frequently opened for out-of-town acts at the Norfolk Arena and hosted the performers at Fernwood Farms after the show.

The Phelps turned a portion of the club into a recording studio where they recorded not only their own group but other local groups as well. When Patsy Cline performed at Fernwood in the 1950s, she recorded several songs in the studio.

The Medallions on Munro

The Medallions

Munro 1 [ 1963 ]

608 N. Oakley,
Saginaw, Michigan

11135 – Blowin’ Through Yokohama part I
11136 - Blowin’ Through Yokohama part II

You can hear both sides HERE


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Joe Ortego on Du-Go

Joe Ortego

Du-Go 1
[ 1963 ]

11201 - Take A Little Look [L & F 113]
11202 - 20-20 Vision [L & F 112]

Country swamp. LeBlanc and Ortego wrote both sides. Publisher is Neches Music BMI.

Recorded at the L & F recording studio in Port-Arthur.



The L & F Recording Service began in October, 1957 as at 1820 - 7th Street in Port Arthur, Texas. The studio was relocated to 1812 - Procter Steet in October, 1959. The studio was owned and operated then - as it is now - by Lois and Floyd Badeaux.

Renamed Musik Faktory in 1970, the studio is now known as Great Recordings, LLC (Limited Liability Company under the Laws of Texas) since 2008.

The Happy Valley Gang on Cozy 573/574 &The Volek Brothers on Cozy 575/576

The Happy Valley Gang - Cozy EP-573/574, 1967
20069 ~ A Dream Of Mother And Dad / The Home That's Prepared For Me
A side vocals by Hugh & Delphia Westfall
20070 ~ I Love To Sing / A Sinner's Prayer
B side vocals by Lou Board


The Volek Brothers - Cozy EP-575/576, 1967
20185 ~ Brenda Polka / Buckeye Polka
20186 ~ Scharler Polka / My Darling Polka

John Bava, the singing coal miner, started the Cozy label in Davis, West Virginia in the late 1940's and released close to 200 recordings over the the next four decades. From country, western swing, country boogie, hillbilly and rockabilly to sacred, pop and polka his releases are now highly collectible all over the world.

For an updated discography of the Cozy label with over 100 listings and 90+ images please Click Here!

Photos courtesy of Phillip Tricker and Malcolm Chapman.

Dynamite Butch

Dynamite Butch

33931 - Hung Over You
33932 - Freedom Song
[ 1974 ]

Audio sample

Both sides publ. by Club Miami Music and written by Don Davidson.

The only tiny bit of information that I can find is in the Chris Henricks bio found HERE. Chris played with various groups around the Indy music scene, one of which was Dynamite Butch from 1971 to 1973.

Tiny bit but precious confirmation that Dynamite Butch is the name of the group and not the name of the label. In the same time, the Indianapolis location is also confirmed, if another proof was needed - besides the Club Miami publishing (a Tommy Wills connection).

Also, a Don Davidson was the keyboardist and vocalist in a band named Otis. He is possibly the same Don. See picture below [source : Doc Lockridge].

Otis (1975 - 1976)
Clockwise, from bottom:--Rick, Don, Doc, Terry




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