Recently came across this on Youtube. Recorded in Memphis [[Royal Studios?), produced by Charles Chalmers.
Did Revilot record any other tracks in Memphis? Does anyone know any history behind this recording, were Revilot trying to branch out?
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Recently came across this on Youtube. Recorded in Memphis [[Royal Studios?), produced by Charles Chalmers.
Did Revilot record any other tracks in Memphis? Does anyone know any history behind this recording, were Revilot trying to branch out?
Was that Terry Felton record produced by Don Davis? Davis had a production agreement with Stax, in which he recorded some of the Stax artists in Memphis, and, I think, brought a few of his Detroit artists to Memphis to record. Maybe he sent or took Terry Felton to Memphis to record or have him recorded there, along with his Groovesville artists? He was partnered with LeBaron Taylor in Solid Hit and Revilot, while his own Groovesville Records were distributed by the partnership's Solid Hitrbound Productions. The artists of both companies were treated similarly in many cases.
The label states it was produced by Charles Chalmers which I would assume puts it with Hi / Royal Studios. I've listened to it on Youtube and it does seem to have the Royal Studios sound signature.
Have researched Charles Chalmers online and found he did a lot of work with Hi in Memphis and Fame / Muscle Shoals as Sax player, writer, producer and backing singer [[part of Rhodes, Chalmers, Rhodes).
He features with many of the famous artists who recorded there. There is no evidence of working with Don Davis although I would think his name would have been well known within these and probably other studios.
There is a website for him : http://www.charliechalmers.com/ which makes very interesting reading and also a Facebook page promoting his own recording studio in Branson, Missouri but no activity since 2020 so wonder if he is still around or retired.
Also a Wikipedia page which seems more or less the info on his website.
Some interesting info here : http://www.sirshambling.com/articles...odes/index.php
p.s. Terry Felton is female.
The A-side "You're Welcome Back" I think is the better side - I meant to quote this side in original post but made a mistake.
https://sirshambling.com/artists_201...lton/index.php
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Originally Posted by Stax_of_Motown
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Originally Posted by Stax_of_Motown
"I Don't want To Have To Wait' is a super ballad , that I'm very sorry I passed up a year or two after it was out, because the seller wanted too much for it [[probably $3 or $4 US). And, at that time, I didn't pay more than $1 or $2 for a record I'd never heard, nor known anything about, as I was buying thousands of them. I never paid above $ or $5, even for records I knew were very rare or very old and rare. The fact that it wasn't a Solid Hitbound Production, and it didn't have Don Davis or LeBaron Taylor's names listed as having worked on the recordings, and didn't list their publisher as exclusive publisher, led me to believe [[most likely correctly) that they had nothing to do with its production, and only leased the masters.
And I didn't know it had such a beautiful ballad on it [[which is right up my alley soundwise). And you say that the flip was even better. I very much want to hear "You're Welcome Back". I never saw the record available to me again, or if I did, I probably ignored it, having thought it was sung by a male "Pop" artist. I have a fair amount of Nashville 1960s Soul 45s produced and or written by Charles Chalmers.
I just listened to "You're Welcome Back" on You-Tube. It sounds like a Nashille Soul recording, tryting to sound like a Detroit Soul cut. It's okay sounding, but nothing special to me. I'd have bought it for the ballad side, which somewhat reminds me of a mid '60s Chicago Sound ballad [[many of which are some of my favourite songs). She has a beautiful voice. I guess LeBaron leased it, thinking that the mid-tempo side sounded something like his own Detroit cuts, and people around the country, already happy with his Revilot and Solid Hit recordings, would, at least listen to it for that reason.