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Baby Face Sings

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Baby Face Sings 
 
J-04a When I'm Gone 
Jimmy Lewis Band, Howard McGee, Bobby Jasper, Benny Green

J-04b Please Baby
Jimmy Lewis Band, Howard McGee, Featuring Bobby Jasper On Flute
 
Ment Records
(early sixties)

This is perhaps the very last record by Jimmy 'Baby Face' Lewis on his own label located on West End Avenue in Manhattan which was also probably his residence.   At least four singles were issued on the Ment label, all by Jimmy Lewis and his band, in the early sixties.  Guitarist and singer, Jimmy Lewis started his musical career in Harlem.  . He was a regular performer at venues including the Apollo and the Cotton Club.  
 
He recorded for Aladdin and Savoy (1947), Manor (1949), Atlantic (1949-1951), RCA-Victor (1952) and Cat (1954). All these recordings are available on the Blue Moon CD "Jimmy "Baby Face" : The Complete Recordings. [sic]
 
In March 1963, he was arrested in his Manhattan apartment for possession  of $180,000 worth of narcotics and deadly weapons.
 

After returning to New York from a Boston benefit show staged to aid the fight against juvenile delinquency, Jimmy Lewis was arrested on narcotics and gun charges after cops, one wearing a grass skirt, posing as musicians seeking an audition, gained entrance to his apartment
 
He is the father of musician Mingo Lewis and the grandfather of percussionist Mingo Lewis Jr. 


Ment discography 
 (all releases by Jimmy Lewis)

1010 Let Them Believe
1010 I've Tried To Please You
 
J-02 Um'A Leave
J-02 I Love You

J-03 The Gypsey
J-03 I'm In Love

J-04a When I'm Gone
J-04b Please Baby


Momma, You Ain't Gonna Worry Me

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Three And One
James Screetch, vocal


Fabar 285-121

1966
James T. Screetch, age 66, of Dayton departed this life on Wednesday, May 17, 2006. He received his formal education at Dunbar High School, and worked for the Dayton Board of Education until his illness. He was a member of St. Paul A.M.E. Zion Church. Jimmy was a musician; an avid fisherman and loved to make and sell fishing poles and also work on cars. He was well known for his musical skills. 
 
A former member of Dayton’s Moroccos, Jimmy formed The Jimmy Screetch Trio  He played piano and saxophone.  He worked with Etta James, James Brown, Marvin Gaye, Ike & Tina Turner, Nancy Wilson...


Lover Number Four

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Ron Jackson
(R. Jackson, LaCour Music BMI)

 Kader 7013
1976

Kader Records was an offshoot of the Enterprise Recording Studios in Maywood, Illinois. The cavernous second-floor studio, built in a 1920s cinder-block bank building, was owned and operated by Bob Kaider and drummer Tom Sparks. (It was renamed Lake Studios in 1980, then shut down at the end of 2001, ending a 31-year run.)

This release by the unknown Ron Jackson was probably produced by Lennie Lacour, a quite prolific songwriter, singer, publisher and label owner - Lucky Four, Magic Touch are the most well known)
 
According to Kaider : "Lenny walked in one day and talked about how he had been a producer at Mercury and was looking for a place to base his own label.   He had been distributed by Atlantic, and he showed me records to prove it.   We agreed to set up office space where he operated Magic Touch."

 
KADER (1976-1977)
418 Lake Street Maywood, Ill (7007, 7011)
Publishing : Timepeace Music

7001 Iron Tongue
7002 Northern Front   
7003 Lamar and Belinda Dunn
7007 King Creole  (pseudonym of Lennie Lacour)
7011 Bob Hardy with Friends 
7012 Albert Gates
7015 Bob Baldwin 
7016 Jimette 
7018 Biało-Czerwoni 

Rhythm Un-Huh

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Maurice White

Rhythm Un-Huh

Mila Pride, Cedarwood BMI
Pride 1003
1908 Lebanon Road, Pho. AL-6-0019 Nashville, Tenn.

1960


Mila (Shoemaker) Pride was born circa 1903 in Nashville, Tennessee and was an operator-clerk for the service of the Railway Company, Tennessee.  She also wrote songs in her spare time.  And she managed to recruit singer Maurice White for her vanity Gold and Pride labels.  "Rhythm Un-Huh" was previously issued on Gold in 1958.

Maurice White sounds here more like a Globe Studios song poem artist.  He also recorded, as Marty Wyte, a more energetic "Queen of The Mardi Gras" (issued three times, on Shammy, Revue and Brosh Records).  

A Maurice White/Marty Wyte discography can be found here (Rockin' Country Style)

Pretty Little Brown Eyes

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Alice Grant
Orch Chic Morrison

 Pretty Little Brown Eyes
 (George Appleyard,  Cunha Music Publishing Company)
Arranged By Ralph Jones  
A George Appleyard Production

Blue Star 503

Hackensack, New Jersey or N.Y.C.?
1965?

The only recognizable name here is Chic Morrison. the orchestra leader.  Veteran musician Chic (Chick) Morrison played drums with Cab Calloway and other big-time entertainers, such as Louis Armstrong and Benny Carter.

Alice Grant previously recorded with Geo. Appleyard (also probably owner of the label) on Blue Star 501. which according to one comment  at 45cat.com, "is very much like something Nancy Sinatra/Lee Hazlewood would do"


Honey Bee

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Gloria Wood
with Ivan Scott and the Four Jewels

(Lawson, Blue River Music BMI)
A Pete Lofthouse arrangement
Diamond 3001
1956



THE KANSAS CITY STAR. SUNDAY. MAY 25. 1958. 
Gloria’s Voice(s) All Over TV, but She’s Never Seen By Hal Humphrey. 
HOLLYWOOD.—“! want to be seen on TV. Everywhere I go I have to be explained, and it makes me very unhappy.” This complaint comes from a 5-foot-2 bouncy blonde by the name of Gloria Wood who possesses more voices than the late Lon Chaney had disguises. On the “Disneyland” show Gloria Wood.  She is “Tinker Bell” in the peanut butter commercial. It’s Gloria’s high-pitched voice which emanates from the smoking penguin.  In the course of one day’s work her 4-octave range voice will be dubbed for Julie London’s on a radio cigarette commercial, the little cartoon characters in a TV beer commercial and i train whistle for a railroad plug. A few weeks ago Gloria stood in the wings of an N.B.C. studio here and sang the high notes for Betty Hutton who was doing a blues number. On a “live” show this made for some tricky timing on both Gloria and Betty’s parts. Years ago when Bing Crosby recorded “Rudolph, the Red-Nosed Reindeer,” he had Gloria play the piping voice of Rudolph. She was on his radio show eight years. When Gloria opens up her mailbox in the mornings it is overflowing with what are called residual checks. Each time any of the nearly 2000 TV-radio commercials she has made is played again, she gets paid for the repeat performance. This lush monetary balm only partly soothes Gloria’s wounded ego. She would be willing to share a hefty chunk of it with anyone who would hire the whole Wood body, instead of just the voice. All Too Frustrating. “It’s all too frustrating.” says Gloria. “What good does it do to be Minnie Mouse’s voice—which I was—if ] body knows it’s mine?” There was a time when Gloria was hired “in person. After graduation from high school in Arlington, Mass., she got a job singing at a Boston radio station. In 1941 she became the vocalist for the Clyde Lucas band, then playing at Roseland in New York. After another stint with Horace Heidt, Gloria joined Kay Kyser’s band and did the vocalizing for such Kyser recording hits as the “Woody Woodpecker Song.” It was her vocal gymnastics on this novelty number which brought her to the attention of the genuises who turn out singing and cartoon commercials for radio and TV. Gloria thought it was fun at first. Suddenly her voice was in such great demand that she couldn’t find time for anything else. Advertising agencies both here and in New York would rearraange their schedeules and wait patiently for “that Wood girl.” On one occasion the producer of a wax commercial needed voices for a little girl, her brother and a mother. Hej^ had Gloria for the little girl,: but didn’t like those he had auditioned for the boy and mother. Gloria wound up do ing the boy’s voice, but the! producer was afraid that if he let her be the mother he would be lynched by the other performers auditioning. Made a Recording. In 1956 Gloria found time to make a record of her own. It was jazz song called “Hey, Bellboy!” and with the sexy overtones Gloria gave the lyrics, it was well on its way to hitdom. “Then the roof caved in,” Gloria says. “The networks banned it. There was really nothing wrong with the song, just a few dirty minds reading something into it that wasn’t there.” She has a new album (“Wood by the Fire”) coming out soon, and hopes it will get her launched as a personality. Meanwhile, Gloria will go on bearing her cross—making commercials, dubbing voices for big stars and shoveling the checks out of the mailbox


Gloria Wood
A partial discography

1941 Elite ? 
Clyde Lucas Band
no details

194? — Mastertone GW-2/3
Gloria Wood with The Bachelors :  
Rhumba at the Matzo Ball
In Brazil It's The Nuts  

1946 — 4 Star 1059
Tommy Todd And The 4-Star Orch, vocal Gloria Wood
Queen For A Day
Out Of A Dream

1946 — 4 Star 1076
Ted Fio Rito And His Orchestra (Vocal by Gloria Wood)
East Of The Sun Side 
other side vocal by Adriana (Snow Whote) Caselotti and Pinto Colvig

1946 — 4 Star 1077
Ted Fio Rito And His Orchestra (Vocal by Gloria Wood) : 
Now That's You're Gone
 other side vocal by Bob Scott
1947 — Columbia 37214  
Kay Kyser and his orchestra
vocal chorus by The Campus Kids  featuring Gloria Wood : 
Managua, Nicaragua
reverse :  vocal chorus by Michael Douglas and the Campus Kids
1948 — Columbia 37956
Kay Kyser and his orchestra /
vocal chorus by The Campus Kids  featuring Gloria Wood
Pass That Peace Pipe
reverse : Vocal chorus by Harry Babitt and The Campus Kids.

1948 —  Columbia 38067  
Kay Kyser and his orchestra
Vocal by Harry Babbitt and Gloria Wood
Teresa
 reverse vocal by The Campus Kids
1948 —  Columbia 38197 
Kay Kyser and his orchestra / Vocal chorus by Gloria Wood : 
Woody Wood-Pecker
Kay Kyser's Campus Cowboys, vocal chorus by Gloria Wood :
When Veronica Plays the Harmonica
1953 —  Capitol 2436 
Buddy Cole And Gloria Wood
Red Canary
Hello Sunshine
 1953 —  Capitol 2471
Anybody Hurt?
Hey, Bellboy!
1953 —  Capitol 2625 : 
Oh, Honey
By The Waters Of Minnetonka
1955 —  Coral 61396
Lover-Lover (Why Must We Part?)
Teen-Time  
1953 -  Capitol EAP 1-538
Anybody Hurt? 
Oh, Honey
Hey, Bellboy!
By The Waters Of Minnetonka

1955 —  Coral 61457 
Hey Mister! (Where Is My Baby Tonight?)
I Keep Telling Myself
1955 —  Decca 29756 
Jimmy Wakely with Gloria Wood
Are You Satisfied?
Mississippi Dreamboat
1956 —  Diamond 3001 : 
Gloria Wood,  Ivan Scott and his orchestra with the Four Jewels: 
The Rock And Roll
Honey Bee 
1956 —  Diamond 3005
Gloria Wood,  Ivan Scott and his orchestra with the Four Jewels:
Close The Door Gently
Wear a Smile
1957 —  Verve 10070
Ricky Nelson 
You're My One and Only Love (Gloria Wood, girl voice uncredited)
1957 — Zephyr 70-009   
Sabourin
Scoundrel Blues
 1957 —  Zephyr 70-010 
Lullaby in Blue
Someday Soon (from film "Bundle of Joy")
1958 —  Columbia 41070 
Mr. Sorrow
Back Door
1958 —  Columbia 41156 
I Won't Be A Fool Agai
 Heartless Kisses
1959 Columbia CL1286 LP Wood By The Fire 
Painting The Town With The Blues
It's Monday Every Day
A Stranger in Town
It's The Talk of The Town
But Not For Me
In a Sentimental Mood
Penny Dream Blues
Mean To Me
I Got It Bad
I Don't Want To Cry Anymore
The Wrong Blues
Goodbye
1960 —  Vista 361 :
Gloria Wood and the Afterbeats
Ching Ching / 
Doo Dee Doo Doop
1962 —  Warner 1371  (LP)
Pete Rugolo And His Orchestra* ‎– Behind Brigitte Bardot - Cool Sounds From Her Hot Scenes
Paris B.B. (Vocals Gloria Wood)
the only title sung by her on this LP


Crying In The Chapel

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Hit Parader HP-35
Unknown artist
1965


In 1923, a 24-year-old John Santangelo left Italy to immigrate to the United States.  Initially, he made his living as a bricklayer and masonry contractor. Then, in 1934, he came up with the idea of printing and selling the lyrics to the popular songs of the day. Soon he was making hundreds of dollars of supplemental income.  According to the official history of the Charlton company, Santangelo was blissfully unaware that he was breaking copyright laws until his activities came to the attention of American Society of Composers, Authors and Producers [ASCAP]. He was convicted of copyright infringement and sentenced to a year in the New Haven County jail. In jail he met white-collar criminal and former attorney Edward Levy.   Levy recognized a good idea, and they formed a partnership to legally publish song lyric magazines.  And because they both had infant sons named Charles, they christened their new venture Charlton Publishing. Their first publication was Hit Parader magazine in 1935, and it was published continuously until Charlton Publishing closed shop in 1991.

The company jumped into the field of cover records in 1959. 
 
Two labels were launched : Hit Parader and Song Hits.  They released six 45s every year (3 of each label) until 1966. The two labels shared numbering systems. Hit Parader were all ODD numbered and Song Hits were all EVEN numbered.  Song Hits and Hit Parader records, were distributed by Capital Distributing Co. of Derby CT,

Sources :

Elvis Presley


Angels Cried

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Tony Landi
(Saxe Kielson, Reno Music BMI) 

Angels Cried 
(Petrillo-Canton-Kosloff, Monument Music BMI)

Music by T. Wiltshire
 
Safari 1001
(Safari Record Co. 701 Seventh Ave. New York, NY)

1957

"Angels Cried" was recorded the same year by The Isley Brothers (their first record, Teenage #1004)
 
Safari Records was probably owned by Andy Leonetti.   Alan Lorber produced and arranged several records for Safari.

Phil V and the Viscounts

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Phil V and the Viscounts


Romy RO-101

Romy Record Productions 2810 N. Main, San Antonio


Written, produced and directed by Pat Schneider,  This one-off record is only listed in Journey to Tyme: A Discography and Interpretive Guide to Texas 1960s Punk/Psychedelia by David Shutt, a booklet published in the late seventies. 

A look at the address (perhaps the home of Pat Schneider ?) in Google Maps shows a nice residential neighborhood.


Jan Doss

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Jan Doss

Don't Say This Goodbye Is Forever
From The Best Of Big D Rock, Volume 2 (Collectables)

From The Bop That Never Stopped, Vol. 59 (Buffalo Bop, 1990)

According to Phil York {1}, Jan Doss was a tall, lanky guy with thick, black-rimmed glasses an inch thick.  He sang and performed well, but got carried away with trying to get unique effects, such as the weird lead guitar sound on these 1960 cuts.  His guitar amp was cranked up very loud, as was the tremolo knob.  

These tracks were recorded at the Lew Williams {2}, ' studios in Dallas.  It is not known if these two tracks, certainly from the Phil York archives, were ever released.

The only mention of Jan Doss I've found is in the Bryan Adams High School - El Conquistador Yearbook (Dallas)  - Class of 1960 (probably the caption of a photography included in the yearbook)
Members of the NDCC and their dates enjoy dancing to music by Jan Doss and the Sonics. 1960 Military Queen Miss Betty Sharver Officers and their dates lead the grand march.


{1} Phil York, was a sound engineer.   He wrote the liner notes of the Collectables CD From The Best Of Big D Rock, Volume 2    He died in 2012.  See bio and obituary here

{2} Lew Williams, rockabilly recording artist (Imperial Records, 1956-1957) retired from performing in January 1959 and a few months later opened Le-Drene Productions, a recording studio and talent agency he operated with partner Adrene Bailey.


Running Loose Twist

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The Twilights
Running Loose Twist
(Bob Lesko, Page Music BMI)
 
Page 504
Johnstown, Pa.
1962


Predates their REF recording issued later that year  ("The Bug, part 1 and 2"). 
 
Owner of label was Alphonse "Al" Page (born Alfonso Pagliaricci in 1911).  He was also a local promoter, publisher and record shop owner.  He died in 1986.


Apache

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Jerry Miller
(Lordan-Flamingo, ASCAP)

BCR Records 100

Recorded at Saint Studios, West Band, Wisconsin

There were records on Sara and Cuca by Jerry Miller, but It's not known if he's the same artist.

  

That was Jorgen Ingmann, and not The Shadows, who had the first American hit with "Apache".   Jorgen Ingmann was a Danish guitarist who would later win the 1963 Eurovision Song Contest along with his wife, Grethe, with a song called “Dansevise (I Loved You).”

It is not known who had the idea to add lyrics to this originally instrumental record written by Londoner Jerry Lordan, but a vocal version by country star Sonny James, with lyrics by Houston singer-songwriter Johnny Flamingo, appeared on RCA Victor at about the time Jorgen's version was peaking in 1961.



Jerry Lordan was not an American Indian. He was a Londoner who had served in the Royal Air Force, dabbled in stand-up comedy, and worked in advertising before he began writing song hits for Mike Preston, Anthony Newley, John Barry, and especially the the Shadows, the backing band of Cliff Richard, Britain’s premier rock and roll teen idol until the Beatles came along, who would go on to become the Pat Boone of England.

In 1959, Lordan saw a Burt Lancaster movie called Apache, which had come out in 1954. In much the way Charlton Heston played a Mexican in Touch of Evil, Lancaster was Massai, the last Apache left after Geronimo’s surrender to the U.S. Cavalry in New Mexico, and a man out for vengeance. The story was based on fact—the real-life Massai did in fact escape the prison train after Geronimo’s tribe was captured—but the movie was primarily a frame for nonstop action. This gave Lordan an idea for a song, also titled “Apache,” and Lordan sold it to Bert Weeden, then the top-selling solo guitar instrumentalist in England.

34 years after Weedon cut the song, Lordan was still complaining: “He hasn’t even played the music that I wrote,” the songwriter told an interviewer in 1993, two years before he died. “I wanted something noble and dramatic, reflecting the courage and savagery of the Indian.” Soon after, Lordan, who also cut some minor hits as a vocalist, went on the road with Cliff Richard and The Shadows. He introduced the song to them (stories vary how), and after the band returned to London, they recorded “Apache” in less than 45 minutes, expecting it to be a B-side. Instead, it became a hit.

Read more ........

Express yourself

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Express yourself : always place the sticker in the right place

courtesy of ebay

Lover Please

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Gene & Chris The Long Brothers

Scotty 45-GQP-651
1964

Eugene Drew Long (1946-1998) and his younger brother Chris were both of Wheeling Island (West Virginia). They began their career at a very young age as part of the Long Family.  .The duo ended with the drafting of Gene to Vietnam. Later, Gene continued by singing with a local group called The Blenders for many years.

Discography

Scotty 651    
Gene & Chris The Long Brothers , 1964    
Rock Around The Clock /  Lover Please
Prod Joe Gorlock
Agogo No #, 
Gene & Chris The Long Brothers ,   1965?
Don`t Worry, / Linda,    
 Jubilee 5541 
The Long Brothers,   1966
Dream Girl / Lonely Time 
Prod Lou Guarino

 

Scotty was a subsidiary of Gateway Records owned by Bob Schachner.
Robert Schachner, a native of New Jersey, was the son of an audio aficionado.  His father owned sophisticated audio equipment and a cutting disc to manufacture records.  Schachner came to Pittsburgh to study drama at Carnegie Tech but transferred to Duquense University to study journalism.  While in school he worked part time selling records and produced recordings of the Duquesne University Tamburitzans.  He quit school in 1961 to open Gateway Recordings with an initial investment of $341.

Scotty discography
Division of Gateway Recordings, Inc. Pittsburgh, Pa.

424 Flecker And The Countdowns
615 John Ivey, With The Chapelaires
645 Exciting Avantis
651 Gene & Chris The Long Brothers
652 Patti And The Playboys  
811 Tony Coz
818 The Marlins
822  Ronnie King And The Passions
939 Ollie And The Go-Go's
No# The Hides



Rock 'n Roll Jump-Stick

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Wally Hester
(Wally Hester-Gladys Blackford, Mountain City Pub. Co., BMI)

Hap 1010 
Hap Records Dome Building Chattanooga, Tenn.
1961
 
Happy Herbert Schleif, manager of a Chattanooga clothing store and part-time country music promoter launched the Mountain City Recording Studio in 1960 in partnership with Carl Allen.  

Partial discography of the label can be found here at the Mellow's Log Cabin blog.

An earlier Wally Hester release on University is listed at 45cat


To-To-Mo-To

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Vocal Jo-Jo

Obie (Count) Jenkins & Orchestra
 
 Josephine Joseph - Opal J. Lantz- Bill Husarik, Dauphin (BMI)

Ace 113
Ace Records 
1650 Broadway, N.Y.C.
1957

Ace Records was headed by Johnny Ponz (Ponzillo).  Musical director was Vincent Vallis. The label was active from 1956 until 1961.  
 
Jo-Jo (Josephine Joseph ?) was probably a regular vocalist with the Count Jenkins Orchestra.  Obie Jenkins, Jr., an alto and tenor sax, was from Malvern, Ohio.  He organized the Count Jenkins Band in the late forties.

 


Black Duck (With The Baby Blue Eyes)

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Ray Whitaker
Whitaker, Whirl Music, inc.

Ray Note S-3   
6331 Hollywood Blvd, Hollywood 28
1959



Ray Whitaker
wrote his first concerto at 17, which won him a musical scholarship.  Following 3 years in the Air Force with the Special Services Division, he headed various orchestras and appeared in clubs in Los Angeles and Las Vegas. 

In 1957, he failed to impress the Billboard reviewer of his Tropicana album (Rock and Roll Your Bones, Ray Whitaker at the Hammond) :
A mediocre attempt to capitalize on the rock and roll craze via the heavy beat of a Hammond organ on tunes like "Tuxedo Junction,""St. James Infirmary,""Darktown Strutters Ball," etc. 
After few sessions at Surf Records, where his orchestra backed Del Erickson and Jeff James, he started his own Ray Note Records.

Some ten singles and several albums were issued in 1959-1960, including three singles by Darla Hood and the very last recordings of  Western String veteran Spade Cooley ("Fidoodlin", Ray Note LP 5007).

After the label folded, Ray had labored for three long years upon one truly bizarre musical instrument called the Musicade.  It consisted of a Hammond organ, a Lowrey organ, a baby grand piano, xylophone, vibraharp, drums and more than 30 other percussion instruments--all. combined into a gigantic device which was to be played by Whitaker while seated before four keyboards.   The Musicade was first played at the Mardi Gras, an entertainment lounge, located on Chapman Avenue in Orange one night of December 1965 :

He later moved to Tucson, Arizona where he lived with his mother, Stacia, who helped him to wire another Musicade.  According to the Tucson Daily Citizen (June 6, 1970) :
Ray says he owes most of the wiring of the musicade to his mother. "At the age of. 64, I quit show business," she says laughingly, "and became an electrician. I got so I was wiring that thing in my sleep and at times it seemed like a nightmare. I can't believe I really did it."   Some of the plugs between the various units, she explains, contain more than 100 wires. "Friends used to drop around and watch us during the three and a half years it took us to build it. 
According to the same newspaper, the Musicade was unfortunately destroyed by a fire which destroyed the bar where it was. (June 1971).

Ray Whitaker died in 2003 in San Diego, Calif.

5 Sable Sisters

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5 Sable Sisters

R. Trivanovich Starday BMI
C. Sable, Starday BMI

Dixie 45-868
July 1960

Teen-age group from Ohio.  Bob Fenster, New York, was their personal manager.  That's all I can find and that's not much.


 Billboard,     April 11, 1960                                                        Aug. 1, 1960 

One If

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Ed (The Great) Gates
E. White-M.Hurley
Publ. 4 Star Sales, BMI

You Are My Love
E. White-G.Love-M.Hurley
Publ. 4 Star Sales, BMI

4 Star 1712
September 1957


*

Ed Gates 
(cover of the Krazy Kat LP)


Edward Gates White was born in Philadelphia, Pennsylvania in 1918. He moved with his family to the west coast in 1932.  He worked for a dry cleaning business until he turned professional in musiic.  
 
He started to record in the late forties. His records were released by Selective, Kappa, Miltone, Gotham, 4 Star, Rex Hollywood, Recorded in Hollywood, and States (in Chicago).  
 
From 1954 onwards,  Gates apppears to have been associated with Mark Hurley, a white entrepreneur based at Los Angeles.  With Hurley involved he recorded for Aladdin and again for 4 Star.   After that session he abandoned blues recording in favor of instrumental organ recordings of jazz rather than blues interest.  
 
Gates then changed from being a singer to an organist. As an organist he recorded for Speciality and Robins Nest.  In the eighties he was still living in Los Angeles and still singing and playing the Hammond organ at cocktail lounges, billed as "The Man On The Moon" and still using the name Ed Gates. 

His early sides were compiled on an album published by the Kray Kat label (UK) in the mid-eighties (cover above)

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