A HDH - Invictus, Hot Wax, Music Merchant question

[keith_h]

It recently occurred to me, considering the number of hits H D H wrote for Motown, looking at the writers credits on Invictus, Hot Wax and Musicor why they wrote so comparatively little for their own labels. Do any members know or have any theories.

[keith_h]

Sorry, I meant Music Merchant

[MIKEW-UK]

Keith, I always understood that contractual restrictions imposed by Motown meant that HDH often used other names as fronts to avoid infringing the legal constraints placed upon them at that time...... can anybody confirm?

[MIKEW-UK]

and here's the confirmation from our very own forum..............

http://soulfuldetroit.com/archives/1157/4841.html?1061365045

[MIKEW-UK]

I recall Howard Preistley had written a book on the whole Invictus / Hotwax history but I don't think it was ever published....

[keith_h]

But their credits did appear on a few tracks, so how did they get around that?

[MIKEW-UK]

I guess Howard Priestly could tell us the definitive answer....I am wondering if they were only credited after 1970 or so once settlement had been reached and the constraints removed.

[MIKEW-UK]

Pseudonyms used until out of court settlement..therefore no credits from May 1969 to early 1972 according to this article.... http://www.history-of-rock.com/hollanddozierholland.htm

[theboyfromxtown]

I guess Howard Priestly could tell us the definitive answer....I am wondering if they were only credited after 1970 or so once settlement had been reached and the constraints removed.

Howard was trying to have his work published but he wasn't able to get it to that stage. Tentatively called "Love Factory"

[theboyfromxtown]

resources.pihomebuild.com/sites/166/docs/flaming_

Not sure if that link works. It's a section from the unpublished book.

I put Howard Priestly Love Factory into a Google chrome search and it came up

[HowieP]

Hi, it’s a long time since I contributed anything to the Forum. Life takes you in all kinds of directions. I completed the Love Factory book on the history of HDH which I had hoped would be published. Two publishers, Be Cool and Bankhouse Books showed an interest but nothing ever happened. I now run a radio station in Halifax, England and every Thursday night have a Soul Show, Soul City, 8pm til 10pm UK time, available to hear on www.phoenixfm.co.uk [[http://www.phoenixfm.co.uk/). I also contribute a Funk article to a Soul Magazine, Soul Up North. I feel sad that this contribution to the history of Soul remains unpublished, not saying it’s the definitive book on HDH but it still baffles me as to why I can’t get it out there. Does anyone know of any US based publishers that may be interested? Many of the Deep Beats/Sanctuary sleevenotes were taken from the content of the book and if you go to the HDH website they’ve ‘borrowed’ some of my text, which I guess is a compliment. Secondly, I also feel sad that people like General Johnson and Steve Mancha, who I interviewed for the book, didn’t get the chance to read it. Every now and then I still add to it but I’d rather see it out there as it stands.
Enough! Let’s start the cerebral juices going… Earlier this year I submitted a proposal to Demon/Edsel to consider finally putting the Satisfaction Unlimited and Smith Connection’s albums out on one CD. I researched both groups and supplied sleevenotes in the hope they might be interested. Again, no response. However, the other night I began playing my CD of them and started researching for a Radio Special on Don Mancha and Johnny Terry. One name that crops up with Johnny Terry and who was linked to HDH was Raynel Wynglas. In a Eureka moment I suddenly wondered…could this wonderfully named artist be a pseudonym for Raynard Miner? Any searches on this person have remained unsuccessful over the years. Any help out there?? Thanks for listening, always loved the Forum, maybe I can start contributing again.

Howard Priestley

[MIKEW-UK]

Hi Howard, it's a huge disappointment your book hasn't been published...there must be a significant amount of us out there who love the Invictus stuff and who would buy it....I hope you get the breakthrough on this.... cheers Mike

[jsmith]

There maybe some info here that could prove useful in the Smith Bros / Smith Connection story ........

Next, Michael [[Love)Smith was recruited to join the CMC team. Born in St Louis, Michael led, sang lead & wrote for the family based group the Smith Brothers who’s first single was released on Gold Future [[probably the house label for the St Louis based Gold Future studios). Later in 1970, the group hooked up with the Isley Brothers and had a 45 released on the brother’s T Neck label . Under the revised name of Smith Connection, they were signed to the Music Merchant label in 1972. Their first outing under this name, “I’ve Been In Love”, made it onto the charts [[peaking at #28) in January 1973. Two further singles by them escaped on the label in 1973 but neither of these managed to make any dent on the charts. In addition to recording with his group, Michael also worked with the likes of Freda Payne, 100 Proof Aged in Soul and Honey Cone. However, he was making no money from all his efforts and was really struggling to provide for his family. Holland, Dozier & Holland had signed him as both a writer and artist and his contract with them was rock solid. There was nothing that Kent could do to break the contract but he was able to sign him up as a producer. Realising that Michael had true talent, Kent convinced the owner of CMC to put him on a retainer and the resulting payments helped keep a roof over his families head. The initial CMC projects that Kent & Michael worked on were with Charles Drain and a girl group called the Love Set. H-D-H were far from happy with the situation but they had no power to stop him working in St Louis as a producer [[they did however retain the publishing on the songs he wrote whilst there). Eventually Michael would go back with the Holland Brothers but this would be after they had settled their dispute with Berry Gordy and were once again due to work for Motown. As part of that agreement, Michael would be signed to a deal with Motown. He worked with the Jackson 5, Junior Walker, Thelma Houston [[76), the Temptations [[76), Originals, Cuba Gooding, Bloodstone, Supremes & Jermaine Jackson at Motown. He then teamed up with ex Invictus colleague Angelo Bond & they worked on some Ozone LP tracks [[Michael singing lead on some of the tracks on their ‘Jump On It’ LP). Effectively he was also ‘Motown Sound’ who had an LP released on Motown in 1978 and he then went on to lead his brothers in Lovesmith [[1981) before going solo [[as Michael Lovesmith). He later worked with the likes of Aretha Franklin [[Arista), Gladys Knight & Pips [[CBS) and Bobby King [[Motown).
.......... Back in St Louis in the 1970’s, Charles Drain was looking a way to get his career back on track. It was therefore no surprise that when Kent Washburn and Michael L Smith let it be known that they were holding auditions for singers, he was one of the first to learn of this and turn up at the studio to try out. Kent & Michael were suitably impressed and he was quickly signed up. The auditions also resulted in the Love Set being signed to a recording contract. Kent in conjunction with Michael L Smith started work on tracks by Charles Drain and the Love Set and it was agreed that these, when completed would be released by RCA.
......... Charles Drain was already an experienced singer with quite a bit of studio experience and so his sessions progressed quite smoothly. A Michael L Smith song, “Is This Really Love” was selected to form the top side of his initial RCA release and the single [[RCA #10186) hit US record shop shelves in February 1975. It didn’t manage to chart nationally but it certainly made waves and as a result, the 45 was also released in countries such as the UK [[RCA 2750). The next RCA single release that originated with the CMC team came from the Love Set. The group’s only release under the deal featured “Touch & Go Lover” [[RCA #10241) and this was issued around April that year. Again little or no promotional effort was forthcoming from RCA but again the track made some impact as it also gained a foreign release. Charles Drain’s next outing came towards the end of the year and by this time, Michael L Smith had moved on and Kent was in total charge on the tracks. No drop in quality was evident though, as Charles performed sterling work on the Ray Dahrouge penned song “Lifetime Guarantee Of Love” [[RCA #10521). His last 45 outing on the label emerged in March 1976, when “What Good Is A Love Song” was coupled with “I'm Gonna Stay” [[RCA #10594).

[jsmith]

MORE INFO on CMC's activities in St Louis back in the 1970's .......

BACKGROUND: James Thompson was leader of the Voice Masters who were signed to Bamboo Records whilst it was still run out of St Louis. After Gene Chandler took charge of the label, he utilised James just as a songwriter & hits soon followed for the likes of Mel & Tim, Krystal Generation And Gene himself.

...... A FURTHER SECTION FROM MY ARTICLE on Kent Washburn / Emkay Records ....
......... But by 1972, James Thompson was back in St Louis and looking to resurrect a recording career. He formed a trio named the Hypnotics made up of himself, Arthur Jeffries [[ex of the Voice Masters -- now deceased) and Paul Robinson [[2nd Tenor – also now deceased). Kent got the group to record some tracks and then set about getting them a record deal. For some months, Kent drove Vice Presidents at many of the major record companies crazy. He pestered them until they finally agreed to meetings at which he pitched the tracks the Hypnotics had recorded. Three offers resulted, from RCA, Warner Brothers and Playboy Records. A deal was signed with Warner Brothers / Reprise and everyone involved at CMC was thrilled as the production company was now off and running. Their initial 45 release on Reprise coupled “Beware of the Stranger” with “Memories” [[May 1973) but with little promotional effort put behind the single by the label, it failed to register commercially. A second single [[“Girl You Know That I Love You” / “Dance To The Music” followed but that met a similar fate.

......... CMC's letter heading back in the day .........
3699

Vinyl collectors may be interested to learn that the Hypnotics 45 ....
"ONE WAY TICKET / DON'T BURN NO BRIDGES"
[[originally pressed up in the US in minute quantities as 45 EmKay EM 1004) will soon be released as a UK label 45
...... MORE NEWS ON THIS LATER [[soon) !!!
“Don't Burn No Bridges” was covered back then by Jackie Wilson & the Chi-lites – their version of the song making the US soul charts in November 75.

[HowieP]

I'll keep trying. The book covers more than just the Invictus period. It charts their development within Motown but also how the riots and Berry Gordy's departure around the same time left the City devastated. It also covers their post-Invictus period but it is told through the artists stories as well. Ironically, Bankhouse Books were up for it and approached Lamont Dozier to write a foreword. They heard nothing, then Lamont's wife contacted them saying that he was looking to have his story published. Suddenly interest in mine went cold. I argued that mine would be a totally different story than his, just as he would tell things differently than Brian or Eddie Holland would do. I once got through to Gold Forever in LA and managed to leave a message with Eddie Holland. The response was that they were suspicious as to why someone would want to write a book about them. With that in mind, the message from Mrs Dozier also managed to block it....have I missed his book coming out?? Sorry, getting disappointed again, damn, picked a great day to stop drinking!!!! Just kidding.

[HowieP]

Interesting stuff. This is an extract from the Love Factory book,

Music Merchant was seen by some parties as the successor to Invictus that seemed to be steering up a dead end street under Capitol’s distribution. Keener eyed observers noted that the label was the same shade of blue as its sister but there the similarities ended. Sadly the new label proved a financial disaster that eventually collapsed without one major success although both Eloise Laws “Love Factory” and Just Brothers “Sliced Tomatoes” would become rareties on the British Northern Soul scene.
At the beginning of 1973 the only artiste doing anything chartwise for Holland Dozier Holland was Laura Lee on Hot Wax whilst over on Music Merchant The Smith Connection appeared with a highly rated album of ballads that deserved to have fared better, “Under My Wings”. The album was mainly written by Ronald Dunbar with group leader Michael L. Smith with rhythm arrangements by McKinley Jackson and strings arranged by Motown veteran Paul Riser. Michael L. Smith and his two brothers, Danny and Louis hailed from St Louis, Missouri. Michael had found earlier success at the end of the ‘60’s with a song “Little Girl” sung by The Isley Brothers before he moved onto Stax where he was backed by The Bar Kays and where Isaac Hayes wanted to sign him to a ten year contract. His manager declined the offer for him and he next made the acquaintance of Holland Dozier Holland signing not only a recording contract for himself but also for his brothers as The Smith Connection. Outside of the group Michael wrote primarily with Ronald Dunbar contributing four tracks to Freda Payne’s third studio album for Invictus “Reaching Out” [[Invictus KZ 32493, 1973). The title track plus “For No Reason”, The Man Of My Dreams” and the final track, a rare upbeat song from the duo, “Right Back Where I Started From” which shared more than a passing resemblance to “Someday We’ll Be Together” and “I Can’t Help Myself”. He also became part of the staff production team under the Holland Dozier Holland banner that consisted of many creators in a collective much the same as The Corporation that had sprung up at Motown in the post- Holland Dozier Holland years. He also contributed two tracks with Ronald Dunbar to Dionne Warwick’s 1973 Holland Dozier produced album, “Just Being Myself” [[Warner Bros BS 2658), “You Are The Heart Of Me” and “I Always Get Caught In The Rain”.
From the “Under My Wings” album came their first single, “I’ve Been A Winner”, MS 1012, released in January, 1973 and backed by “I Can’t Hold On Much Longer”. A track later cut by Laura Lee over on Hot Wax [[HS 7305) in August, 1973 as the ‘B’ side of “I'll Catch You When You Fall”, another Smith/Dunbar composition and incidentally the final Hot Wax single to be distributed by Buddha. “I’ve Been A Winner” was a haunting heavily orchestrated Marvin Gaye influenced ballad, with superb harmonies and an outstanding pathos-filled lead vocal by Michael Smith that deserved to chart higher than it did. The single reached Number 28 on the R&B Chart and led to a rare television appearance on Don Cornelius’ Soul Train Show, aired on the 3rd of February, 1973, alongside The Dramatics and Syl Johnson.
A second single and lead track on the album, “The Day You Leave” backed by “I've Come To Stay” [[MS1014) was pulled from the album in May 1973 but failed to make any great impression on the chart. The aforementioned “I Can’t Hold on Much Longer” was followed by the title track, yet another stunning vocal close harmony performance by the three young siblings. Next came the plaintif “Wish I Had You” written again by Smith and Ronald Dunbar. One of the most beautiful ballads ever issued by HDH. The first side closed with what could have failed in less competent hands but even standards like “Til There Was You”, originally written by Meredith Wilson for the 1957 musical play, The Music Man, sounded fresh within the context of the album. The most celebrated version of the song was cut by The Beatles for their “With The Beatles set [[1963). A tribute to their bosses came next as side two opened with a track originally a hit for The Supremes on Motown way back in 1965, during Holland Dozier Holland’s halcyon days at Motown, “My World Is Empty Without You”. It was given a ballad treatment and also sat well between “Til There Was You” and the next track, The Carpenters “Rainy Days And Mondays” originally released by the brother and sister act in 1971.
When Lamont Dozier decided to start his own record label Hithouse Records with his wife and business partner, Barbara Ullman Dozier in 2001 to market and distribute his own recordings. The first release was "Lamont Dozier...An American Original". The album received a Grammy Nomination in 2002 for Best Traditional R&B Vocal Album and had Dozier re-arranging classic tracks such as "This Old Heart Of Mine", "I Hear A Symphony", "Reflections", and "My World Is Empty Without You" into stripped down ballad form.


"I felt it was finally time to give this music a new face. Everybody in the business has done these songs at one time or another, but no one has ever heard how they were originally created. Most of them started out as ballads. They will have more of a melancholy feeling, soft and sweet."



Lamont Dozier



This was not necessarily true though. “My World Is Empty Without You” had already had that treatment courtesy of The Smith Connection whilst elsewhere Tami Lynn’s “Love Is Here And Now You’re Gone” set of 1972 took that song to an almost stand still position in its sombre delivery on Cotilllion and Margie Joseph had done a similar job on “Stop In The Name Of Love” a year earlier at Volt. Two more Dunbar / Smith compositions, “I’ve Come To Stay” and “Angel Girl” followed whilst the final track had previously been cut by Invictus act Glass House, sung by Ty Hunter and composed by Dunbar / Wayne and Dumas but again, The Smith Connection made “You Ain’t Livin’ Unless You’re Lovin’” their own. As with Satisfaction Unlimited’s set this has gathered interest over the years but has also never seen light of day in the UK in CD form. It too showed that the company was capable of creating quality albums as opposed to simply putting together a collection of songs ripe for plucking for the singles market. The Smith Connection changed completely for their final Music Merchant release, the funky “I’m Buggin’ Your Phone parts 1 and 2” MS 1015 released in July, 1973 which saw them treading the same path that the Chairmen Of The Board had done more successfully with “Finders Keepers” two months earlier on Invictus. Both owed a considerable debt to Stevie Wonder’s “Superstition”. From 1973 Smith and Dunbar were also able to show their creative flare on the Barrino Brothers final single for Invictus, the Norman Whitfield/Temptations flavoured “ Born On The Wild [[ZS7 1256).
As the team of Holland Dozier Holland split up with the Holland Brothers moving to Los Angeles Smith moved with them and eventually settled into his Motown period where he forged a ten year relationship working with The Jackson Five and Jermaine Jackson, in particular on his solo debut, “My Name Is Jermaine”. His work with Motown also paved the way for him to bring his brothers back in the frame as the group Lovesmith.
Michael Lovesmith had absorbed much knowledge during his period with Music Merchant.

Howard

[jsmith]

RE: .......... Michael had found earlier success at the end of the ‘60’s with a song “Little Girl” sung by The Isley Brothers ....
The Smith Brothers T-Neck 45 [[#928 released at the end of 1970) featured their version of "Little Girl" [[B/W "Cuddle Up").

[jsmith]

The Smith Brothers 1970 St Louis 45 outing [["Check Me Out") ........ http://www.youtube.com/watch?v=GO7u6cYD-3U
.... This group shouldn't be confused with the group that cut for Soul Dimension & Shield.

[jsmith]

The Smith Brothers Gold Future 45 ...........
3701

According to the label credits Gold Future studio guy Russ Lewis wrote the A side with Michael Smith penning only the B side.
Russ Lewis is also credited with producing both sides [[& no doubt he engineered the tracks as well).

[jsmith]

Tuva side of the above 45 [["Such A Nice Girl") .......... http://www.youtube.com/watch?v=7VJ2jDjIJLs

[jsmith]

Other tracks that were cut at Gold Future Studios [[outside St Louis) in the mid 70's included ....
Cuts by local outfit the Stimulation including “Magic Touch of Love” [[Hi-Stepping 45 - 1975)
This side were produced by Kent Washburn >> http://www.youtube.com/watch?v=LcElvK_HxrM
Kent also worked with Tyrone Perry [[an ex member of the Young Disciples & then a member of Westmoreland Co.) on “Loving You” which was issued on Gold Future's own house label [[also in 1975).
BUT .... the most notable cuts laid down at the studio around that time were some tracks cut by local music icon, Fontella Bass. Kent took her into the studio & a couple of good tracks resulted, “You Can Bet You’re In Love" and "Testify". Unfortunately these never saw the 'light of day' as Kent was tempted across to work for Motown in LA [[with the likes of Hi Inergy).

[dvdmike]

The Smith Brothers 1970 St Louis 45 outing [["Check Me Out") ........ http://www.youtube.com/watch?v=GO7u6cYD-3U
.... This group shouldn't be confused with the group that cut for Soul Dimension & Shield.

Burgess Gardner was my high school band teacher at Kenwood High School in Chicago during my senior year [[1972-73).

[jsmith]

dvdmike, can you remember anything about his 'night job' back then; did he talk about his live / recording work at all ??
I know he started out playing the trumpet in a number of top jazz outfits in the 50's. By the 60's he had his own group and played numerous live gigs as well as recording stuff for Chicago labels [[Burgess Gardner & the Soul Crusaders - "Think About It / Do It" - More Soul Records).
From 1970 to 73 he ran the 'Down To Earth' record label which released 45's by the likes of General Crook [[who had 3 national hits for the label), DuShons, Chymes / Chimes, Danny Bell, Impalas & Kings of Soul.
By the 80's, he was cutting tracks under the supervision of Al Perkins that MCA released [["Nice 'n' Greasy", etc).
For a long time he headed his own orchestra and also developed his song writing & arranging skills down the years.
I guess it wouldn't have taken him too long to travel down to St Louis [[from Chicago) in 1970 to work on the Smith Brothers tracks.

.....................................
BTW, thought it was worth mentioning that Satisfaction Unlimited's "Lets Change The Subject" [[off their Hot Wax LP) has recently been issued on a Sonic Wax 45 here in the UK -
--- listen to the track here >> http://www.youtube.com/watch?v=at03wZSYuKY
......... It has a sort of "Sitting In The Park" feel to it IMHO.

[HowieP]

This is another extract from my Love Factory book which I sent as proposed sleevenotes to Demon/Edsel to support the hoped for CD release of the Satisfaction Guaranteed album. My copy is in pretty good condition, probably because I hardly played it back then because I was disappointed in it, having expected something more in the Invictus/Hot Wax style but some 40 years on I think it's an absolute stunner of an album!! Whereever I find information I have acknowledged it in the book but will have to find the source from which much of this info originated. It was on one of the many Soul sites I browse. If you're out there let me know!!
On January 3rd , 1972 an ongoing lawsuit between Holland Dozier Holland and Berry Gordy Jr was settled. Within their company signs of strain were beginning to show but instead of looking to solve problems in their existing ranks Holland Dozier Holland went ahead with what would prove a disastrous decision; the launching of a third label, Music Merchant, distributed, as was Hot Wax, by Buddha. Still, despite these turbulent times for HDH another new name was added to the roster of Hot Wax, Satisfaction Unlimited, who were due to have a single released called "Bright City Lights" but which was never issued. Despite this one non-release, in 1973 Holland Dozier Holland gambled on this relatively unknown act, one that had not had a single release on which to mount an album attack by releasing “Think Of The Children” by Satisfaction Unlimited, HA 716. This would prove to be the final album to be issued by the failing Hot Wax label but just like the label’s Silent Majority before them Satisfaction Unlimited were no newcomers to the music industry. The group had started life as The Marvels in 1954 in the 12th and Potomac section of Washington DC. The group consisted of Sam Gilbert [[lead), James “Junior” Isom [[second tenor), Ronald Boyd [[baritone), and James Mitchell [[bass). Washington, like many other cities in America had a wealth of street corner groups but no major labels at this time so groups migrated to other places in search of fame, fortune and a recording contract. In the late spring of ‘58, the Marvels set their sights on New York and struck a deal first time, signing to Gene Schwartz's Laurie records with July’s "I Shed So Many Tears" backed by "So Young, So Sweet" being released. Despite a promising start the single failed and the group was 3 years without another record. When the initial record did nothing, they abandoned recording for those three years and returned to DC to play live gigs. [/URL]In September, 1961 they went back into the recording studio, this time for John Dickerson's Winn label in Washington. This was to cut a remake of the Brown Dots' "For Sentimental Reasons". By this time, they faced group name competition from the Mar-Vels, the Marvelettes and the Marvellos and so took a new name, The Senators, named after the local major league baseball franchise. Winn went on to release "Wedding Bells" in April, 1962, but again the single failed to give the guys the break they so desperately craved and so with morale reaching a low they disbanded with James Isom joined up with another Winn act,The Gales. This venture only lasted a month before he joined The Satisfactions. In September, 1966, the group released "Give Me Your Love"/"Stop Following Me”. Despite yet another failed attempt at recording success the group did begin to pick up more work on the strength of it and they found themselves travelling to Ohio, Toronto and Montreal. In [URL="http://home.att.net/~freebizak/Marvels/marvels4.jpg"] [[http://home.att.net/~freebizak/Marvels/marvels8.jpg)June, 1967 "Take It Or Leave It"/"You've Got To Share" was released on Smash, followed by November’s "Use Me"/"Keep On Trying." Conway Twitty's studios in Oklahoma in 1970 found The Satisfactions recording material which was released on the Lionel label run by Dallas Smith and former Motown songwriter Jimmy Webb and distributed by MGM Records. The Satisfactions first single was also the first release for the label: "This Bitter Earth"/"Ol' Man River," released in May 1970. This was the breakthrough they had longed for, reaching Number 36 on the R&B Charts. Lionel followed this with "One Light Two Lights"/"Turn Back The Tears" in August. "One Light Two Lights" fared even better than its predecessor and reached Number 21 on the R&B charts. Their last Lionel sides were "God, I'm Losing My Baby"/"O-o-h La La", issued in February 1971. After this they extended the name to Satisfaction Unlimited a year later signing to Hot Wax in 1972. The group now consisted of Lorenzo Hines [[lead tenor), James Isom [[second tenor), Earl Jones [[baritone) and Fletcher Lee [[bass) with production by Winford Terry who co-wrote all the tracks on what was a solid album. The album opened with the planned single, “Bright City Lights” with Lorenzo Hines singing lead. The track was a departure for the label soundwise and should have been not just a single but a hit single. Sparse instrumentation allowed the warm, summer feel to shine through.
”I Know It’s Love” followed, giving Lorenzo Hines the opportunity to share lead vocals with James Isom while the rest of the group augmented the sound with polished group harmonies. Track 3, “Spread Your Love Around” was almost funky but held back enough to let the strong lyrics have their say. This made way for “Let’s Change The Subject”, again, as with all the tracks it was the lyrics that were clearly defined and, in this case verging on comedic. That wasn’t to say that it wasn’t a strong track and again the vocal interplay helped to make the playful lyrics come to life. Then came the heart wrenching title track. Again, as with all the production by Winford Terry the instrumentation was stripped to a minimum so that the song of separation hit hard. “Think Of The Children” had the husband pleading with his wife to think about the devastating effect her departure would have on their kids. “Time For Us” opened side two in high spirits with the funkier “Somebody Else’s Woman” showing a harder edge than some of the other songs. “Why” composed by Raynel Wynglass and Winford Terry returned to the same composers’ playful lyrics as heard on “Let’s Change The Subject” before the rhythmical “Seeing You Through The Eyes Of A Blind Man” once again had the group sparring with the backing track. “Don’t Call Me, I’ll Call You” had almost a Parliament groove and was more Pop than Soul while the final track, “Come on Back” closed the set in an upbeat groove. It had to be said though that none of the faster tracks were aimed at the dance floor as earlier Invictus / Hot Wax or Music Merchant material had been which is possibly why there were no more singles pulled from the album. This was no light weight album, it was a labour of love; intelligently executed and one that has been a sleeper for far too long. There had been a definite maturing of style surfacing within the HDH organisation, seen in later work by Honey Cone and 100 Proof but time was running out. Cecil Holmes, Vice President of Buddha Records, Hot Wax USA Distributors had previously stated that Hot Wax was a bit quiet but promised that they would be back, but Buddah Records who had distributed both the Hot Wax and Music Merchant labels went belly up, leaving Holland Dozier Holland with only one national distributor, Capitol and although hit singles kept coming, album sales through the Capitol distribution system were disappointing. Record companies made the majority of their profits though albums, not singles. Holland Dozier Holland began feeling that Capitol would never get the kind of album sales that they knew were possible with their black artists. The team knew that they would never have a completely successful record company unless something was done to get better album sales. “Think Of The Children” should have been such an album.

Can I repeat my earlier forum question...who is/was Raynel Wynglas? As I said, I'm wondering if it was a pseudonym for Raynard Miner, anybody got any info?

[Jay Negron]

Thank you Howie for your 2 exerps.....hope the book finally gets published...facinating read.

[jsmith]

Russ Lewis' [[who owned Gold Future Studios & produced the Smith Brothers initial 45) first main claim to fame in the music world was as co-writer of "Groovy Situation" which Gene Chandler took into the R&B Top 10 / Pop Top 20 in mid 1970.
I guess he used some of the money that hit generated to upgrade the studio and to enable him to put in more hours there [[Russ's day job was with the US Mail).
James Thompson [[from St Louis & leader of the Voicemasters who were signed to Bamboo) was writing songs for Gene Chandler from 1969 and his song “Good Guys Only Win In The Movies” became Mel & Tim's 2nd 45 hit early in 1970. Mel & Tim were also initially based out of St Louis and it is probably through one of these 3 guys that Russ Lewis got the opportunity to pitch his song "Groovy Situation" to Gene.

[HowieP]

It's great returning to the Forum, people's knowledge on these topics always fascinates me. Another older thread and one that remains an unsolved mystery, one that I had hoped the book would solve was the identity of Dunbar/Wayne. This is what I was abl to learn, hope it's of interest [[ another taster of the unpublished book!!)

In England EMI launched the Invictus and Hot Wax labels and whether intentionally or not gave Invictus the same cataloguing numbers beginning with 501, “Give Me Just A Little More Time” by Chairmen Of The Board, as it had done for Tamla Motown in 1965. Perhaps the powers that be were expecting a carbon copy success story. Could Holland Dozier Holland’s Midas touch work for them again? Only time would tell. “Band Of Gold” stood at Number One Nationally whilst the Number Two position belonged to Chairmen Of The Board with the original version of “Give Me Just A Little More Time”. Both compositions were again written by Ronald Dunbar along with Edith Wayne whose names would be matched to much of the company’s early success although it was later learned that Holland Dozier Holland had used their names because of contractual problems hanging on from Motown. Here, there are variations on the truth. One story implied that at the time HDH were trying to come up with a pseudonym and as they looked out on to Woodward they saw the sign Wayne State University, Edith was Lamont Dozier’s Mother’s name. Others claimed that Eddie Holland wrote most of those songs credited to Dunbar/Wayne with Ronald Dunbar. Wayne was the pseudonym for Eddie Holland. Whilst Wayne was sometimes credited as the co-writer on many songs with Lamont Dozier and Brian Holland the name never appeared with Eddie Holland. So, for Dunbar and Wayne you may wish to read Ronald Dunbar and Eddie Holland although to this day Holland Dozier Holland remain adamant that Edith Wayne was a real person and responsible for these tracks. Interestingly, though, when Holland Dozier Holland started using their own names Edith Wayne’s disappeared for good.

“What happened was that Holland Dozier Holland were playing games…….. me and Greg [Perry] worked as a team both writing and producing but when it came to putting producer credits on they would only pay for one producer... those tracks with Edith Wayne as writer, Edith Wayne was Holland Dozier Holland but they weren’t allowed to have their name on the records.”


General Johnson

“There was still some legal thing with Berry that stopped them from using their own names. Edith Wayne was in fact Eddie Holland’s girlfriend … everytime you see the name Edith Wayne on a record it’s Eddie Holland”




Steve Mancha

"Brian and I came up with "Band of Gold" and "Give Me Just a Little More Time", but we didn't put our names on 'em because we were in a lawsuit and couldn't use our names. So we used Ronnie Dunbar, who was an employee of ours and Edith Wayne, who was a friend of the Holland family.... After that we brought in Greg Perry and General Johnson... Ronnie Dunbar too."


Lamont Dozier


One such protegee Ronald Dunbar was credited as lead writer on "Band of Gold".

They helped to develop, by coaching and by directing the writers and producers that they were "mentoring," and I was one of those people so helped in development. I was given certain projects to write. Band of Gold was one of those projects and I came up with the title "Band of Gold" first. My partner, Edith Wayne, and I wrote the lyrics according to how the track was and used the melody structure that we got listening to the track. I was part of the "in-house" team that was being developed at the time. It wound up being a heck of an opportunity for newer writers, like myself and to some other people in getting their careers developed. When I say "newer" I mean people that had some experience but nowhere near the success of the Holland Dozier Holland team. It was a great treat to be under the umbrella of HDH.



Ronald Dunbar


Whatever the real truth was the fact remained that Holland Dozier Holland were now away from Motown if not free from the clutches of Berry Gordy Jr. and their new productions were about to begin where their Motown career had left off. With all the furor surrounding the colossal “Band Of Gold” the other release in March, Honey Cone’s “Take Me With You” was always going to be second place despite an equally great pedigree and once more being the product of the enigmatic Dunbar and Wayne.

[jsmith]

Just noticed some wording on a St Louis cut & released 45 from around 1974 ........
The 45 is on the Zudan label and is credited to Sid Sidney Wallace & the Belairs [["Don't Hurt Me No More").
The song was written by Sidney Wallace & the track produced by Randy Hudson [[now deceased but the son of Ted Hudson who started / ran Hudson's Embassy Record Stores & Ted's One Stop, Inc. - a record distribution biz opened in 1968. One of the stores still exists - 3818 Page Blvd St Louis - and is now run by Michael Hudson.
Anyway back to the Zudan 45 ....... on the label it states Vocal by Michael Smith.
I guess this had to be Michael L Smith just back In St Louis from working for HDH's Music Merchant label.

[jsmith]

BTW, Ted Hudson [[who is mentioned above; Ted's One Stop, etc) also owned / ran the Hudson label in the 1950's.
They released the Duster's "I Love You" ..... http://www.youtube.com/watch?v=CzS2Nlg6Jz8
The group included Tommy Tucker amongst its members.

[theboyfromxtown]

http://www.youtube.com/watch?v=XX-GrkOBKIE

[RossHolloway]

Was anyone else puzzled why none of the Motown artists never followed HDH over to their new label? I know Brenda Holloways recorded a handful of tracks for them and I think had just the one 45 release. But why didn't more artist follow suit?

[thomas96]

Was anyone else puzzled why none of the Motown artists never followed HDH over to their new label? I know Brenda Holloways recorded a handful of tracks for them and I think had just the one 45 release. But why didn't more artist follow suit?

Joe Stubbs went over there with 100 Proof.

[theboyfromxtown]

https://www.facebook.com/photo.php?v=10151563657252428&set=o.529155320459586&type=2&theater

[Kamasu_Jr]

The Russis said Mary Wells believed Invictus was no different than Motown, so why would she have gone there? I would guess a lot of people thought the same thing. I assume HDH learned good and bad things from Berry Gordy and used those things on their artists. Some people said Invictus recorded a lot of people that Motown did not want or those who had grudges against Motown.

[imnokid]

This is the best thread I have read on here in ages. Reminds me of why I joined in the first place all those years ago. Information on soul music in Detroit.

[MIKEW-UK]

I agree.

I am still hoping Howard publishes his book on Invictus etc. I wrote in April 2011 -

Hi Howard, it's a huge disappointment your book hasn't been published...there must be a significant amount of us out there who love the Invictus stuff and who would buy it....I hope you get the breakthrough on this.... cheers Mike

I wonder if the book will ever get out for us to enjoy - I continue to hope so.......

[jsmith]

This thread really illustrates how musicians / singers / song writers had to move to progress their careers. Those moves being both geographic & record company wise.
Michael Lovesmith came from St Louis & first recorded there. His stuff came to the attention of the Isley Brothers in New York and so he linked up with them. Next he headed off to Detroit to work with H-D-H at Invictus / Hot Wax / Music Merchant.
When that position didn't supply sufficient funds to support his family, he headed back to St Louis and hooked up with Kent Washburn. With Kent he worked with the likes of Charles Drain & Love Set.
When Kent Washburn left St. Louis, after being recruited by Gwen Gordy for Motown, Michael Lovesmith went back with H-D-H who by then had returned to Motown to work.
With that team, he made the move to LA and worked with a number of Motown artists. He started the group Lovesmith [[who made a great album for Motown) and then went solo [[as MIchael Lovesmith obviously).
After his solo career cooled, he went on to work with the likes of Aretha Franklin [[Arista), Gladys Knight & Pips [[CBS) and Bobby King [[Motown).
So Michael had moved cities and record labels numerous times to keep his career progressing.
These days, a singer / writers recording career can be over in a few months. Back in the day, folks got the chance to ply their trade for up to 25 years.
How times have changed.

[144man]

https://www.facebook.com/photo.php?v=10151563657252428&set=o.529155320459586&type=2&theater

Thanks. That's made my day.