Singer - Song Writer - Producer - Actress
Ivy Jo Hunter
“See You Around/Yea, Yea, YeaSJ 516
Towards the end of his tenure with Motown Ivy was placed with the company’s V.I.P subsidiary. Here he recorded two 45’s “I Remember When (Dedicated To Beverley) / Sorry Is A Sorry Word (V.I.P 25055) and “I’d Still Love You / I Can Feel The Pain”(V.I.P 25063). An album release was also planned and although given a release number (V.I.P.S 406) with the title of Ivy Jo’s “In This Bag” no release ever materialized.
Some of the highlights from his eight year association with Motown include such timeless classic’s as The Four Tops “Just Ask The Lonely”,The Spinners “I’ll Always Love You”, The Marvelettes “I’ll Keep Holding On” and the Martha Reeves & The Vandellas seminal anthem “Dancing In The Street”.
After leaving Motown Ivy joined forces with his brother John Maxey to form the Independent Detroit based Probe 1 Production Company. Throughout the 70’s and into the 80’s the brothers continued to produce and record releases on many Detroit groups and solo artists which appeared on several of their labels.
Ivy himself recorded several solo outings such as “Ain’t No Black & White In Music / When Does The Loving Start” (Red Line PRL-01) and“ Everytime I See You It’s Hello / Anthem (Midwest 011087) as well as singing lead vocals on North By Northeast’s “Pain Of City Living/Slave Of Society (Probe 1).
Their only releases to break out of Detroit nationally were the mellifluous “Two On A Cloud / Grown Up Fairy Tale” (Buddah 556) recorded by Curt Darin (a.k.a Curtis Gadson) but this release coincided with 20thCentury’s buy out of Buddah records and the record failed to make any major impact. Followed by ex Dramatic Willie “Weegee” Howards local Detroit hit for Ju-Par Records “Hold On To Your Dreams” which was later picked up by the major Cottilion label. Ivy eventually hit paydirt when in 1985 David Bowie and Mick Jagger covered “Dancing In The Street” as their contribution to the Live Aid Appeal.
And so to the present, for this release Soul Junction have selected two previously unissued tracks from circa 1979 that Ivy Jo cut for Probe 1 productions. The excellent mid paced dancer “See You Around” b/w the sublime ballad “Yea, Yea, Yea” which showcases Ivy’s vocal talents to perfection.
E.R.I.C. is one of today's most versatile talents in live entertainment. His dedication and commitment to good music are as equally dynamic as his voice. E.R.I.C.’s many active projects reflect his wide range of inspirations ranging from Stevie Wonder, Luther Vandross to Marvin Gaye.
In 2008 E.R.I.C. released his first EP entitled “Drama” under Extra Rich In Class Publishing which is an affiliate of SESAC. E.R.I.C. wrote all the lyrics and music on the Drama EP. It was well received especially in the U.K. where it was noticed Phil Driver of Soul Unsigned Records. E.R.I.C. was signed with the U.K. group and the song “Queen” from the EP was incorporated on their compilation called Contemporary Soul Songs Book II.
This led up to E.R.I.C. opening up for Bobby Brown In 2009 at BB KINGS in New York City. In addition E.R.I.C. has opened up for: Aretha Franklin, The Pointer Sisters, Pieces of a Dream and The Fugees.
E.R.I.C. forthcoming 2011 EP entitled “Groove” has two singles, the title track Groove and Betcha Didn’t Know, have had an early release in the U.K. and have been well received.
Betcha Didn't Know is now featured on Soul Unsigned Records new release The 2011 Summer Soul Session and receiving great reviews.
E.R.I.C. hopes to be touring and showcasing his live performances worldwide.
Crystal Motion
“Love is on its way" was written by Buddy Monterio (Arthur) and Victor Tavares of the Tavares Bros. who also sings background vocals on the song was the lead singer of the their own 1st hit single "Check it Out". You can purchase Crystal Motions' hit song "You're My Main Squeeze" on various web sites around the internet. A Quote from the members: Thanks to all of you who helped with our career in music. Thank you "Carlton Pina", "Johnny Morton" "David Antunes" "Mike Antunes" (from Eddie and the Cruisers) "Paul (Chips) Almeida"(Who was a big part of our life’s and we truly miss) "Tavares"(Who influenced us greatly) "Eddie Levert " ( The O Jays) ," Bob Wayne"(WNBH) "Big Ange"(WPRO), Etc. Crystal Motion would also like to thank all of you who remember us and supported us back in the 70s. From Burlington V.T. to Cherry Hill N.J. We still remember and will never forget. It was a fun time. Peace, love and God bless......... Kevin, Buddy and Dougie
Our History
The band reunited in 1999 to perform to a sold-out crowd at London's Jazz Café. They also changed their name to Kojo The Original Blackbyrds. In 2002, they released a remake written by Keith Killgo titled "Mysterious Vibes." This single enjoyed #1 on the house music charts in the UK. Since that time, they have toured Europe and United States, playing to sold-out audiences.
In 2006, Kojo The Original Blackbyrds celebrated the 30th Anniversary of "Doin It In The Park" and "Rock Creek Park." The band performed at Washington, DC's legendary Carter Baron Amphitheater. They were presented with a proclamation from the mayor's office declaring "Rock Creek Park" to be an official DC anthem.
Current Activities
Kojo The Original Blackbyrds is currently preparing to release a new single, a remake of Donny Hathaway's "Someday We'll All Be Free." Through the new technology of Facebook, YouTube, and other applications, a fourth generation of listeners is enjoying their music and images. A music video will accompany the release of their new single. It will feature some of their new and old associates
“Won’t Somebody / The Answer’s No” SJ515
Audio returns! And riding high, on the back of the success of his 2011, “New Beginnings” album. Although the above mentioned album was compiled from entirely unissued material from the 1980’s, this time around Vince Broomfield following on from his involvement with the respected Cool Millions project. Has presented us at Soul Junction with a brand new 2012 recording entitled “Won’t Somebody”.Soul Junction feel that this song is the best thing that Vince has recorded (to date) and have very high hopes of this becoming a future anthem.
The flipside is another previously unissued track from the 80’s sessions which we unfortunately didn’t have room to include on the album.
Tel: +44 (0)121 602 8115 E-mail sales@souljunctionrecords.co.uk
Raymond Earl earned quite a reputation by co-writing the classic –– and Instant Funk’s million-selling breakthrough record –– I Got My Mind Made Up. He was also featured on Evelyn Champagne King’s Shame, as well as Carl Carlton’s popular hit She’s A Bad Mama Jama.
At the age of five, Lenis Guess was already entertaining his family by jumping up and down on the kitchen table and doing Al Jolson impressions, falling to his knees. By the time he was fifteen he was singing harmonies on street corners with his friends, with songs made popular by such groups as The Monglows, Drifters, Flamingos & The Spaniels etc...
At the age of seventeen, Lenis wrote & recorded “Crawling” by The Blue Beards. Because of his success with The Blue Beards, Frank Guida wanted to sign Lenis to a long term contract, but Lenis was too young and his parents wanted him to stay in school and get an education so Lenis was put out of the group.
Lenis then spent most of his time writing songs, in which time he met with Kenneth Deal. Deal was a recording artist who loved Lenis’s songs, he introduced him to George Perkins, a club owner. Deal, Perkins & Guess formed a Company called DPG Records, where Deal recorded a single called “What have you heard”. Things took a turn for the worse when Kenneth Deal was killed in a car accident.
About a year later, Lenis & Perkins recorded a Lenis song “Thank Goodness” which became a local hit.
Lenis then rejoined Frank Guida to record a song that they both wrote together called “Working for my baby” which became number 2 on station WGH & number 3 on WNOR Radio. This was also played by Dick Clark’s American Bandstand and this started him getting bookings in clubs. Lenis was a guest performer at Station Wrap Music Awards at Crysler Hall, where he was voted best vocalist of the year.
Frank Guida believed in Lenis’s ability to run his studio. He gave him the keys, let him do nights and study on his own, while Guida went in another direction into retail. A short time afterwards when Guida went his own way, Lenis met with Dorsey Brockington a gifted engineer. The two started a recording studio together called Brocking & Guess. The studio lasted from 1970 till 1978 until Brockington got married and moved to Florida.
Feeling that he had done about all he could do in Norfolk V.A. Lenis went to New York to continue his professional career. Having learnt from Frank Guida & Dorsey Brockington, Lenis was ready to start his own studio in New York. His first single was “Falling deeper in love” which sold well, but being so close to Broadway theatres he felt inspired to write & star in his first off Broadway musical “Lord if I slide back” which was a smash hit. This prompted four other musicals such as “Strutters,” “Spirit Train” and his one man play “I am a Christian”. He sold out every performance with “Too many women”. In 2008, Lenis produced a new play starring 22 women called “Abused” which was a very unusual musical uplifting women with the Gospel, similar to his musical called ‘Girl Fun’ in Oct 2007.
Lenis’s newest play in 2011 is called “Applaud the devil praise the lord” which is a smash hit.
My Story by Ishola Muhammad
I was born, July 9, 1947, in Norfolk, VA. The youngest of 10 children, my parents named me Delano Andrew Lee. I guess there was something meaningful, to them, in giving me names from past American, presidential icons like, Franklin Delano Roosevelt, Andrew Jackson and Robert E. Lee. I think our family name probably came from one of the Robert E. Lee plantations. How I became Ishola Muhammad was the result of many, many twists and turns in my life.
My father, James S. Lee, Sr., died when I was 2 years old. My mother, Katheliner Lee, was blessed to live to be 101 years old. With 10 children to raise, she had to be a mother and a father for all of us. My mother passed, quietly, away, to be with her Lord, on February 24, 2010. Even though God allowed me to have her in my life for 63 years, she hasn’t been gone long enough for me to know if I’ll ever stop grieving the loss of Mama.
I guess I can say, I was raised in a music home. Mama always took us to church. We belonged to a Church of God, which was supposed to be “sanctified”, whatever that was supposed to mean. Maybe it meant that the people shouted, got the “Holy Ghost” and fell out on the floor, often. Anyway, we were in church, at least, 2 or 3 times a week. On Sunday, we went to Sunday School, 11:00 AM service and, almost always, were right back at 7:00 PM service. Maybe we went so much because 6 of us were in the choir.
The youngest one in the choir stand, I remember being the "little darling "of the choir because of a song named, “Who Is That Writing” or, “John the Revelator”. I had a solo part that everyone loved. Back then, I had a really high pitched voice and the solo part fit me perfectly. Everyone would wait with great anticipation to hear me come in and do my soprano part, and I loved it.
Back in the 5th grade, in music class, we did an "Operetta" and the teacher selected me, Edward Brown and Leon Goss, to sing "Cedric The Minstrel". For some reason, singing with those 2 guys, on stage, in front of the whole elementary school, student body meant more than all the previous occasions when I sang in church. The "Operetta" convinced me I could harmonize and since other people, besides the "church people" liked what I sounded like, that was all the motivation I needed.
I started Jr. High school in 1959, which was when I had my first experience being a member of a “street group”. Harmonizing on street corners and serenading all our friends and fans made life worth living. I was in a 3 member group with Gregory Banks and Junious Sessoms. We used to practice, practice, practice, rehearse, rehearse, rehearse, every time we saw each other. Thinking back, I believe we were trying to be ready, in case Berry Gordy or Marvin Gaye happened to pass by our favorite corner someday, while we were “blowing”.
Just as fate would have it, the Viet Nam war was in full effect and the draft was headed our way. I started college to get a deferment. Junious, I think, got drafted and Gregory, I don’t know how he avoided the military. Around this same time, it seems that drugs hit the black community like the napalm bombs were being dropped in Viet Nam. I had no idea why so much heroin could be found “everywhere”. It seemed that everyone was shooting up. On the college campus to the run down abandoned houses, heroin was there. I held out for as long as I could. Even though I wouldn’t join in right away, for fear of an overdose, hanging around, watching others do it, long enough to see that it probably wasn’t going to kill me, right away, I gave it a try, and it was on.
(To be continued…)
Maurice Jackson started his recording career in the 60’s and early 70’s. He produced his very first recording, “Love has left us” in Reno, Nevada with a group called the Checkmates LTD.
The late Donny Hathaway produced his next big hit “Lucky fellow.” Maurice made his debut with this tune on the nationally famous “Soul Train.”
Maurice stepped up to the top of his career when he joined a group called The Independents which included Eric Thomas, Helen Curry & Charles Jackson. Most of The Independents music was characterized by a combination of Soul & Gospel sounds, produced by the late, great Marvin Yancy & Charles (Chuck) Jackson. Their manager Eddie Thomas (former manager of Curtis Mayfield & the Impressions) secured a recording contract with Scepter records in New York City. Their first single produced by Yancy & Jackson “Leaving me” struck gold and the album also
contained several top ten R&B hits.
Maurice has performed in many cities across the U.S.A. and around the world including Germany, The Virgin Islands, England & Africa. He has shared the stage with such performers as Ray Charles, Aretha Franklin, Marvin Gaye, Barry White, Sammy Davis JR, Richard Pryor & many many more...At the present time Maurice is working with producer Mike Logan on a fantastic new Gospel album.
www.jonathanwinsteadmusic.com
Dave Hamilton “Pisces Pace” (TOWN 144 A)
Barrino Brothers “The Bad Things (You Said To Me)” ((TOWN 144 B)
Dave Hamilton continues to influence the rare soul scene and imaginative DJs have picked up on his rare TCB 45 ‘Pisces Pace’ which brims with jazz, blues and funk but maintains a steady irresistible rhythm that has made it a dancefloor winner in recent years. We’ve included a similarly funkified gem from Detroit legends the Barrino Brothers which was the third track from their TCB waxing, not released until the 3rd Kent Dave Hamilton CD.
Jackie Day “Naughty Boy” (TOWN 145 A)
Jackie Day “Get To Steppin’”(TOWN 145 A)
Eddie Whitehead “Just Your Fool” (TOWN 146 A)
Mary Saxton “Losing Control” (TOWN 146 B)
The sheer quality and building rhythm of the music, allied to Eddie’s tormented vocals, made ‘Just Your Fool’ a 80s/90s monster and another mega-bucks objet d’art. The flip is the pounding ‘Losing Control’ of Mary Saxton, a veritable Wigan monster.
Darrow Fletcher “No Limit” (CITY 024 A)
Darrow Fletcher “What Good Am I Without You”(CITY 024 B)
We have unearthed a slew of previously unreleased 70s sides and the Gray and Hanks song ‘No Limit’ is one of the best dance tracks among them. The Detroit recorded Northern Soul classic ‘What Good Am I Without You’ represents Darrow’s earlier 60s incarnation.
Pat Hunt “I Ain’t Talkin’” (CITY 025 A)
Mamie Perry ‘My Baby Waited Too Long’ (CITY 025 B)
‘I Ain’t Talkin’’ by one of LA’s many great female, primarily, backing singers Pat Hunt is right up today’s New Breed meets Popcorn street. This is the recording’s debut. From a similar era and also in a blues, dance bag comes Flash Records 1958 release by Mamie Perry ‘My Baby Waited Too Long’.
Ortheia Barnes “Never Ever Leave Me (alt version)” (CITY 026 A)
Ortheia Barnes “What Should I Do (Inst)” (CITY 026 B)
The sublime mid tempo soul of original Funk Brothers Dave Hamilton and Joe Hunter’s 1964 composition ‘Never Ever Leave Me’ was recently featured on CDKEND 356 but for this exclusive 45, we have used the alternate version with added percussion for a more prominent dance beat. This was previously only available on an original acetate that sold for well over £1000. The flip is the much talked about instrumental version of Little Ann’s ‘What Should I Do’ also known by its cover-up name Rose Valentine’s ‘When He’s Not Around’ in the heyday of Wigan Casino. This has never been issued in any format until now.
Darondo “Didn’t I” (CITY 027 A)
Darondo “Saving My Love” (CITY 027 B)
The laid-back Slyesque soul of Darondo is the flavour of the decade in Modern Soul circles, particularly in Europe and the States. ‘Didn’t I’ is the classic Music City recording that has been featured in films and ads in recent years and ‘Saving My Love’ is the terrific off the wall dancer that Ace recently discovered among those Music City master tapes.
Lou Johnson “The Panic Is On” (CITY 028 A)
Lou Johnson “You Better Let Him Go” (CITY 028 B)
