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Rick Richards' Fortune Records – Page 1 Rick Richards’ Fortune Records – page 1 Fortune Records Building at 3942 Third Ave. Detroit in May 1995. The building is now vacant. (c) 1997 by Rick Richards discoveries #107 – April 1997 In his autobiography, To Be Loved, Berry the rest of the country in the late '40s and early Gordy describes in dramatic style, the successful '50s: the melding of delta blues with urban "jump" rise of one of this country's most prolific recording music which in turn fostered the growth of what empires. There is no denying that the success of became known as rhythm and blues, which by the Motown Records was due to Berry's musical mid-50s would blend with country and western abilities, uncanny business sense and prophetic styles to become the new "pop" music known as marketing insight. But Hitsville USA, (Motown's rock 'n' roll. aka), which became synonymous with "The Detroit, in the 1950s, was home to a Detroit Sound," did not occur in a vacuum. variety of independently owned record companies Indeed, Mr. Gordy only makes passing references whose focus was primarily jazz, blues and this to those Motor City artists, independent new "R&B" music, mainly due to the considerable companies and recording studios that pre-dated size of the African-American community which his enterprise by several years. (The exception is, had migrated north to work in the car factories. of course, Jackie Wilson, due to Berry's own Staff, Blue Lake, JVB and Sensation were but a direct involvement with that singer's career). few of the labels of this period. Robert West would He does pay homage to the city's thriving precede Berry Gordy, by two years, producing club scene and the many talented musicians both records for his own cadre of labels - Flick, Bumble black and white that were spawned from this rich Bee, Contour, Kudo and LuPine - and known musical environment. Detroit, in many ways, primarily for hits by the Falcons, and the first mirrored what was going on with popular music in recordings by the Primettes, later to become Rick Richards’ Fortune Records – page 2 known as the Supremes. But we are jumping the Midwest. One such program was "The Red ahead of ourselves. Apple Club," on Detroit's WJR. It was during these One independent entity stood out above visits that the girl's first records were produced at the rest in the early days of motor city music, Fortune. In addition to the single, two albums primarily due to the devotion of its owners toward were released: Jealous Love and Hits With The the artists, and their willingness to produce a Davis Sisters. variety of musical styles, particularly on the Sadly, the act came to an end in 1953, country side, as well as R&B. Many of the when Betty Jack was killed in a head on collision musicians who recorded there look back at just outside of Cincinnati. Skeeter was seriously Fortune Records as the place that gave them their injured, but after a lengthy recuperation, she start in the business that would become an continued as a solo act in 1955. Most rock and integral part of their lives. pop music fans remember Skeeter for her 1963, "Fortune" is defined in the dictionary as "a #2 cross over hit, "The End Of The World." hypothetical force that governs events in one's (Covered by Herman's Hermits two years later). life." As a starting point for several musical The first to prove the Fortune legacy, Skeeter careers, Fortune would live up to its name. But the would go on to have numerous pop and country musical legacy really goes beyond that. In spite of hits for RCA, and release well over 30 albums for the spartan facilities, the company would produce that label. She is internationally known on the some of the best preMotown R&B to come out of country circuit, has attained numerous awards the city. Some of the early sides produced at and Grammy nominations, network television Hitsville would bear a direct influence from the appearances and is a permanent member of The Fortune catalogue. Grand Ole Opry. Cub Koda, whose CD, Abba Dabba By 1952, word was getting out in the Dabba, on Schoolkids Records, features six Detroit musical community that there was a record Fortune songs, reverently describes his feelings: company in the city that not only was having "Fortune Records is the great secret record success, they were willing to produce all kinds of company in the history of Detroit rock 'n' roll. music. In the racially divided 1950s, this would be They're the missing piece in the Detroit rock 'n' roll especially appealing to blacks. Enter Sir John Lee historical equation. Any discussion... without Hooker! mentioning them is totally inaccurate and Jack and Devora's son, Sheldon believes incomplete." "The Hook" had recorded his first sides as early Jack Brown, an accountant, met his future as 1948, when he travelled with Jack to Toledo wife Devora in the mid-forties. An accomplished and cut "Sadie Mae" and "609 Boogie" at pianist, Devora had periodically dabbled with Sweeney Sound Engineering. The former would poetry and song writing. Following their marriage, be an album cut, while the latter was the flip side Jack encouraged her to submit her songs for to his first Fortune 45. It would be almost ten publication. With an initial investment of $3000 years before either song was released. they eventually founded Fortune Records in the The following year he hit with his classic, fall of 1947, as an avenue for her projects. After a "Boogie Chillun." Originally produced by Bernie series of false starts and trials, they experienced Besman, then owner of United Sound, for the their first local success with "Jane (Sweet As local Sensation label - the song was licensed to Summer Rain)" by local pop singer, Russ Titus, Modern Records and became a #1 R&B favorite with the Artie Fields Orchestra. in February of that year. Other Modern/Sensation Many of Fortune's early records were releases followed - notably: "Sally Mae," "Crawlin' done at United Sound Studios on Second Avenue, King Snake," "Hobo Blues," "Huckle Up Baby" and near Wayne State University. Following the Titus "I'm In The Mood." (All of which can be heard on hit, Jack and Devora moved their business the excellent Rhino Records boxed set: The operation out of their Twelfth Street home to a Ultimate Collection: 1948-1990). rented office on Linwood Avenue across from Hooker had moved to Detroit in 1943 and Central High School - a move that would prove to gained notoriety playing house parties and clubs be fortuitous as much of the city's young R&B in Detroit's renowned Paradise Valley section up talent had their origins in this very neighborhood - and down Hastings and Russell streets. (This but more about that later. area, unfortunately, no longer exists, having been Achievement on a national scale came in replaced by the Chrysler Freeway and the Detroit 1952, with the country song, "Jealous Love," by Medical Center complex). Though he usually the Davis Sisters. Betty Jack Davis and Mary performed live with a band, his first records Frances Penick grew up together in rural tended to feature just his open tuned electric Kentucky. Influenced by the Carter Family, both guitar and foot stompin' plywood, dragging girls loved to sing and, as teen-agers formed a rhythms that evoked images of a man who meant duo and began singing in small venues in what he said - or sang. Lexington. Mary changed her name to Skeeter One of the most endearing aspects of Davis and the Davis Sisters were bom. As was John Lee's early career, was his cavalier attitude common in those days, they were asked to toward recording companies and their contracts. appear on a variety of radio programs throughout Besides Modem, he appeared on Riverside, Rick Richards’ Fortune Records – page 3 Gone, Chance, Regent, Staff, Deluxe, Swingtime, to follow their dream directly across the street to Gotham, Chess, Vee Jay and of course, Fortune. Fortune Records. The fact that they didn't have Why? Probably because it was there! the money to finance the record was a minor No matter what label he was on at the matter. When told this after the session, Jack was time, Hooker would always find time to record at furious, but Devora was impressed by the smooth Fortune, where he was also under contract. vocal arrangements and the unique lilting vocal According to Sheldon, Hooker had a good talent of lead singer, Nolan Strong. relationship with his parents and was well liked. In In fact, more than any other artist at spite of the agreement, his other activities were all Fortune, Nolan and the Diablos would benefit from but ignored. Jerry Plunk, former lead singer with Devora's songwriting and production attention. the Flaming Embers, recalls, "You know, I was The latinesque, "Adios, My Desert Love" (#509), deep into the blues, all my life, and Jack knew written by Devora, was the first single, and quickly how much I loved John Lee Hooker. (He) was established the group's credentials as regional hit always bragging about having Hooker on (the makers in April, 1954. "The Wind" (#511), written label). One day, I just walked in, and Hooker was by the group and Devora, became their signature there, and then after that I saw (him) a few more song. Released in September, this beautiful ballad times. It was a gas, man." was further enhanced by Maurice King's artful Though not as successful as his earlier arrangement.
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