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  1. #1

    Early Motown Related RoGor Pub "Cortez Young" [[Aka Herman Leo Davis) & The Andantes

    Trying to find out anymore information anyone might have concerning "Cortez Young" or aka "Herman Leo Davis"

    Early Detroit 45's from 1958-59? involving one or both the other, namely Berry Gordy & the Andantes as well as Billy Davis. Not sure Gwen Gordy was involved in this one? A more recent on-line conversation with Louvain Demps helped me a lot, as I knew nothing initially concerning the two 45's other than one of the 45's being Motown related.

    What I Know so far:
    45 Gold 101 both sides are "RoGor Pub" with Roquel Billy Davis the writer, sides A&B "Everbody's Going & "I Have The Time". On asking Louvain, she kindly shared that she knew of "Cortez Young" and was able to recall that Berry recorded both sides of the 45 at Cortez's house in the Garage. Hence the poor sound quality both sides late 1958?

    45 Gold 102 1959 A&B sides: "Come Back Pretty Baby" & "Want You" This includes "The Andantes" as backing vocals on both sides. Louvain mentioned that both sides were recorded in a Chicago studio in 1959 as she was there with the others. The 45 is "Phonela Pub" which I can't find exists?

    Nick [[Soule) kindly forwarded me a fantastic clipping from a local paper of Popcorn Wylie & Cortez Young, this the first time I had seen a picture of Cortez Young. Which I attach below with the 45's. It also confirmed yet another Cortez 45 on the "Hi Hat" Label.

    It was fabulous to be able to confirm that the second 45 had the Andantes on backing vocals. Now both records being Motown related.

    Anything please concerning Cortez and/or Herman, Gold Records, etc. would be gratefully welcomed.

    all 4 of the tracks are on "youtube" If you type "Cortez Young Gold" you'll find them & won't get mixed up with Neil Young!

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    Last edited by Graham Jarvis; 08-29-2021 at 10:12 AM.

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  3. #3
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    I notice that Joe Hunter was one of the writers of this song, along with Cortez and someone named Walker. I assume that Hunter arranged the music, and his band provided the music for that recording session. I would guess that they played on Gold 101, as well. I wonder if Wilbur Golden paid for the session, and Gold Records was his first venture in the record business?

  4. #4
    Thanks Robb, never heard of Wilbur Gold either, so thanks again for that. Out of interest do you have anything concerning Wilbur Gold? I wonder what link other than Billy Davis would Cortez Young have had? Ironically McGraths only have one 45 listed on the Gold label being Cortez Young & Gold 101. Not really surprised but always grateful to McGraths incredible label archives. However finding Gold 102 I was not only amazed, concerning both records but that the Andantes were in on the Gold 102 recording.

  5. #5
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    Quote Originally Posted by Graham Jarvis View Post
    Thanks Robb, never heard of Wilbur Gold either, so thanks again for that. Out of interest do you have anything concerning Wilbur Gold? I wonder what link other than Billy Davis would Cortez Young have had? Ironically McGraths only have one 45 listed on the Gold label being Cortez Young & Gold 101. Not really surprised but always grateful to McGraths incredible label archives. However finding Gold 102 I was not only amazed, concerning both records but that the Andantes were in on the Gold 102 recording.
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    The Wilbur, to whom I referred, was Wilbur GoldEN, who was the owner of Detroit's Correc-Tone Records, who lured such Motowners as Robert Bateman, his fellow Satintone, Sonny Sanders, Popcorn Wylie, Herman Griffin, Don "Juan" Mancha, and William Weatherspoon, to work with his new record label in early 1962. In addition [[according to Robert Bateman), he got a tentative agreement from Brian and Eddie Holland, to run his new label, before Berry Gordy tempted the latter two to break their handshake agreement by buying them each a new Cadillac car, and offer them a big regular salary to stay with Motown. Golden also got Janie Bradford, Motown's main secretary, and [[at that point in time) the company's 3rd most prolific songwriter, after Berry and Smokey Robinson, to moonlight as a major songwriter, and got The Supremes to moonlight for Correc-Tone as background singers. He also signed Gino Washington, Wilson Pickett, Theresa Lindsey, Yvonne Vernee Allen[[later member and sometimes lead of The Elgins), Freddy Bridges[[Brothers Of Soul), The New Satintones [[with Vernon Williams as lead) [[name changed to The Pyramids), Timiko [[Tamiko Jones), Marva Josie, Danny Woods, and Herschel Hunter's Moments [[Voice Masters' lead, Ty Hunter's brother) as artists. He opened a new, full-service, high technology recording studio at 8912 Grand River and signed a few in-house musicians to be regular, salaried employees, led by Jazz pianist/arranger, Willie Harbert, and got many of Motown's musicians [[including many of the Funk Brothers, to moonlight on Correc-Tone's recording sessions, just as they did for Wingate's sessions, and Don Davis' Thelma Records, and Solid Hitbound productions. Golden saw how successful Ed Wingate had been at running money through his record companies, and decided to do the same thing, hoping that it would also eventually make a legitimate net profit as well. Unfortunately by the end of 1965, he had to end up selling out to Ed Wingate, who, in turn, ended up selling much of his record business to Motown in 1966, and the rest in 1968.

    Everybody in Detroit's Black Community knew both Ed Wingate, and Wilbur Golden, both of whom ran several thriving businesses.

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