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Home , Andre Williams, Chess Records, Cub Koda, Eddie Kirkland, Fortune Records, Hank Ballard

Rick Richards’ – page 1

Fortune Records Building at 3942 Third Ave. 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 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 , which by the 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 , 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 , 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, , 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 , 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 . 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 . 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. 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. . , 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 , 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 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, 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 , all my life, and Jack knew written by Devora, was the first single, and quickly how much I loved . (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. The record sold well in Detroit, sides, three singles were released on Fortune: , and New York. Distribution "Curl My Baby's Hair," "Cry Baby" and "Crazy problems, which would continue to plague Fortune About That Walk." (Fortune #'s 846, 853 and 855, throughout its history, prevented national chart respectively). One Fortune LP was released: Big entry for a song that deserved to be on both the Maceo Merriweather and John Lee Hooker, pop and R&B listings. (#3002). The Browns also sold some 1952 Between 1954 and 1964, Nolan Strong sessions to which appeared on and the Diablos would release some twenty 1960's and 1961's John Lee singles, most all of which were regional chart Hooker Plays and Sings the Blues. It remains an toppers. Notable were "Daddy Rockin' Strong" open question as to what may still be "in the can." (#516), "The Way You Dog Me Around" (#518) Today, John Lee Hooker is as popular as and "Mind Over Matter" (#546). Fortune would ever. He continued as a major concert attraction issue four LPs by the group including Fortune Of in the '60s and 70s, first on the college coffee Hits, Volumes 1 & 2; Mind Over Matter and Daddy house circuit as a folk blues idol, and later in Rock. (LPs 8010, 8012, 8015 and 8017). several of the major rock venues and outdoor National attention would continue to be festivals. He continued to record for Vee Jay, elusive for Nolan Strong, although "...Dog Me Chess, Liberty and ABC Bluesway during this Around" did get to #12 on the R&B chart in 1956; period. After a temporary lull in the '80s, he came He was becoming disillusioned. This was back in a big way with 1989's The Healer, 1991's particularly true following the release of "Mind Mr Lucky and the just released Boom Boom. In Over Matter" which was a giant smash in Detroit, January 1991, Hook was inducted into the Rock but saw little action elsewhere. and Roll Hall of Fame. Maybe not the initial The fact that he had previously turned springboard, but Fortune Records cannot be down a Berry Gordy offer to come to Hitsville may ignored as an important ingredient in the have played a part in his attitude change. In auspicious career of this legendary bluesman. addition to Motown, there were several One of the most pivotal dates in Detroit independent companies vying for a piece of the musical history was in 1951, at the Paradise Detroit market in 1964. Robert West's Lupine Theater - now Orchestra Hall, home of the Detroit Records was still in operation. Tony Ewing's Chex Symphony - when / band leader label was having success with the Volumes. Ann discovered and then promoted the Arbor's Ollie McLaughlin was making an impact careers of Jackie Wilson, and the on his Karen label, with soul songstress, Barbara Royals - later to become and the Lewis. Ed Wingate had the Reflections, Edwin Midnighters. This event was to lay the ground Starr and J.J. Bames on Golden World and Ric- work of what was yet to come. The problem was Tic. In fact, Berry Gordy's own in-laws, Robert and that the real authority in terms of promotion and Hazel Coleman had launched their Thelma distribution existed elsewhere. In the case of the Records with lead artist, Emmanuel Laskey. above three acts, it would be Cincinnati's Fortune was no longer the only game in town. King/Federal enterprise. The influence that Nolan's material had Inspired by the blossoming career of the on some early Motown productions is fairly Royals, Juan Guitierriez, Willie Hunter, Quentin obvious. It has been stated more than once that Eubanks, Chico Edwards and Nolan Strong he was an idol of 's. Cub Koda, entered the Brown's Linwood Avenue office in late whose appreciation knows no bounds, has stated, 1953 with the intention of cutting a demo, but the "Nolan Strong was the godfather of the whole hope of getting a contract. The Diablos had been Detroit R&B scene. There , would be no Smokey singing together since 1950, and all attended Robinson without a Nolan Strong. There would be Central High School. It was only natural for them no without a Nolan Strong. His Rick Richards’ Fortune Records – page 4 arranging skills were second to none. What he The experience was a positive one for the was doing on records like 'Mind Over Matter' and aspiring country rocker. "During that time it was 'If I (Oh I)' and 'The Wind' were like Motown the only visible label in .... The name was Records years before there ever was such a around, and you learned from conversations... as I thing." was playing , they had the Davis Stylistic comparisons can be heard on the Sisters and Roy Hall. They did bluegrass, country, more sophisticated Motown sides such as Marv pop, blues... just about everything." Johnson's "Come To Me," ' "Just A Born John Pavlik, he credits Devora Little Misunderstanding" and Mary Wells' "The Brown with giving him his professional name. One Who Really Loves You." One of the more "She said your going to have to change your humorous anecdotes involved Motown's attempt name and I hadn't thought about what I wanted to to get an elusive first hit on the Temptations. As change it to. I was eating a Power House candy the Cubmaster explains, "It's no mystery that the bar. She was talking to me from behind the only time Berry Gordy ever tried to cover a counter, and she says, 'How about Johnny Fortune record with the Temptations as the Powers?' And I said, 'sounds good."' Pirates on Melody doing 'Mind Over Matter' - he Johnny would go on to record for Sun bombed." This 1962 effort paled in comparison to Records in Memphis, and become one of the first Nolan's original. white singers to sign with Motown. By the mid- For reasons still not entirely clear, Nolan sixties, he was experiencing success producing was not picked up by another label following his other non-Motown acts in Detroit, including Tim departure from Fortune in the mid-sixties. He died Tarn's "Wait A Minute," on Palmer; and the of unknown causes on February 21,1977 and is Precision's "If This Is Love," for Drew Records. He buried in Wayne, Michigan's Westlawn Cemetery remains popular in his hometown and is not far from Jackie Wilson's final resting place. something of a cult hero in Europe, making More than any other artist, his records have kept appearances there on a regular basis. Schoolkids Fortune in business into the '90s as a reissue Records released the critically acclaimed New company for collectors. Nolan Strong and the Spark For An Old Flame just last year. (See Elmer Diablos will forever be remembered as one of the Ploetz's fine profile in the January, 1995, most innovative and influential recording talents to Discoveries). come out of Detroit in the pre-Motown fifties. Another country musician who created an In 1955, the Brown's moved their center impact in the early days is Dell Vaughan. He of operations to a slightly larger building at 3942 retains fond memories of his days at Fortune: "In Third Avenue. There were several reasons for retrospect it was a rich blessing. It was good this, primarily financial. By purchasing this training ground you might say. The very first building, they would save on rent as well as have record was 'Cure For Love' and 'Rock The enough space in the front to maintain a record Universe.' I cut that back in August of '58, and store where all the popular tunes of the day were released it in September. 'Valley Of Broken available in addition to their own product. Thus the Hearts' and 'Let Me Be Loved' (Hi-Q 5034), was Hi-Q Record Mart joined forces with Fortune recorded in '64. I've got an old 'one stop' chart Records at the same location. Hi-Q would shortly they used, that I got from Devora Brown. It did become a recording subsidiary of Fortune quite well regionally. It even out sold George Records and the Brown's Trianon Publications. Jones' 'White Lightning' on their country chart. 'I Furthermore, the studio in the back saved on Need You' and 'Garden Of Love' was recorded in session costs, although some artists, not too 1980. It was one of the last (records) for the surprisingly, continued to record at United Sound. company. Detroit singer, Johnny Powers, "The first record I did was in the old was one of the first to record at the new location: record store on Third Avenue. They had an old "From what I remember, part of the floor was a upright piano and the four cinder block walls. dirt floor and (only) one or two microphones There was a little room on the side where she (were) used. The machinery, I think it was a two could look through the glass to see you. Devora track or mono machine... there was a little control and Jack were in the room running the board. room off to the side - small closet type. They only They had brought in the backing group off the had the one machine in there. I think they had a street. They were called the Fortunaires. The guy dub machine in there, but I'm not sure. The studio who played the upright piano on 'Rock The was not big." Universe' was quite a player. Typical honky tonk! Powers recorded his first single at It was pretty unsophisticated. People were coming Fortune, "Honey Let's Go (To A in the front door, buying records, and we were in Show)" b/w "Your Love." (#199) What was the the back recording. session like? "Everything was done all at once... "'Valley Of Broken Hearts' was recorded just me and (my band) the Rockets... (Not to be at United Sound and what a difference a day confused with 70s Detroit band of the same makes. You know United has put out some really name), and on background vocals on 'Honey...' good stuff. You can tell the difference between the was a black male group." He is not certain but two records." agrees that it could have been the Diablos. Rick Richards’ Fortune Records – page 5

Dell has continued to enjoy success as a The Fortune group that best exemplified popular country artist in his home state and in the merging of musical styles was undoubtedly 1994 was inducted into the Michigan Country the Flaming Embers. The band formed in early Music Hall Of Fame. He is in his seventh year as 1964, when Detroiters Mike Jackson (bass) and co-producer of the PBS television series Joe Sladich (guitar), joined forces with Jerry Plunk "Michigan Magazine" and has written and (drums, lead vocals) and Bill Ellis (keyboards). All recorded the show's theme song, "Soar Like An four had played in several other bands which had Eagle." evolved into the current unit. Both Plunk and Ellis Back on the rhythm and blues side, were from Tennessee, where their exposure to Fortune would enjoy its greatest national chart country music had been a strong influence. successes with , and later, The group's later success would largely . Originally from Chicago, be due to Plunk's distinctive vocal phrasing and Williams moved to Detroit and began singing with his love for rhythm and blues. In fact, people who the Five Dollars, who would also become a local heard but never saw the group would favorite on Fortune. Eleven singles would be automatically assume they were black. released on Andre, the most popular being The Embers, who were named after a "Bacon Fat," (#831), "Jail Bait," (#837) and popular Detroit restaurant, cut their first two "Greasy Chicken." singles for Fortune - "You Can Count On Known for his intense and dramatic song Me"/"Gone, Gone Gone" (#869) and "Woe Is delivery in the Jackie Wilson style, Williams could Me"/"Rain Go Away" (#870). Both sides of both plant tongue firmly in cheek with his novelty tunes, records were written by Plunk. co-written with Devora. "Bacon Fat" would go to Jerry is enthusiastic about those early #9, on the Billboard R&B chart in February 1957. days: "We decided to take a week off and record He left Fortune in 1960 and went on to write and some things on our own. So we went down to record for Ed Wingate's family of labels, which Specialty Recordings on Grande Boulevard... and was rapidly becoming Motown's primary cut six things and hawked them ourselves. We competition for talent. Following the Motown buy thought, 'Let's try Fortune.' So we went down to out in 1966, Andre would return to Chicago and Fortune and talked to Jack and Devora... I didn't continue to record for a variety of labels. In 1984, live too far away and used to get my hair cut right Fortune released Jailbait, a twelve-song by Fortune. I used to see a lot of groups going in retrospective of his best material. and coming out. I was always into R&B, Hooker Of all the artists on the Fortune roster, and Dr. Ross, (the Harmonica Boss). There were Nathaniel Mayer would have the greatest national two or three other blues singers [that] had records exposure with the release of "Village Of Love" on Fortune. I thought, 'What the hell, they're local, (#545), in May of 1962. The song went to #16 on they're down the street, let's give it a try'" the R&B chart, and remained on the pop chart for Since the band had already recorded the 12 weeks, peaking at #22. This doo-wop classic demos at Specialty, it was agreed that Fortune was the highest charting pop single in Fortune's would distribute two of the sides, "You Can Count history. Billed as Nathaniel Mayer and the On Me" and "Gone, Gone, Gone." The second Fabulous Twilights, (though there never was a record, with Ray Kimble singing lead on the A permanent group of Twilights), Nathaniel would side, was produced in the Fortune studio. release a total of nine singles along with the LP, Bassman, Mike Jackson recalls the Going Back To The experience, "I think it was a four-track, if I Village Of Love. remember correctly. It was all done at the same He was a perennial favorite on the Detroit time. No voice-over or anything. That's how it club circuit in the sixties. United Sound producer, worked. Usually, through some other recording Frankie Garcia, played with Leonard King and the experiences I would have in later years, the Soul Messengers who backed numerous artists in amplifiers are plugged right into the board. the city at the time: "With Nathaniel Mayer, Fortune was not like that. The microphones were Emmanuel Lasky and Silky Hargreaves - we had set right in front of the amplifiers." the most exciting times, as far as local artists were Jerry agrees, "It was a make-shift place. concerned. Anytime any one of them would step They had egg crates for sound-proofing. It was a out on the stage, it was Just like you would see... real tinny sound. In my opinion, it was a place for how the girls did for . It was the same people to start. A lot of good people went through kind of hysteria. It was right on the verge of being there." physically dangerous to the safety of the artist and Both of the Embers' Fortune releases the bigger the place was, the more it was that were minor local hits and received a significant way." amount of airplay on all three of Detroit's major Mayor's follow up to "Village..." was rock stations at the time. Two years later the "Leave Me Alone," which made some noise, but group would go on to sign with Ed Wingate's Ric- did not hit in spite of national distribution by United Tic label where six singles would be issued, Artists. Nathanniel has kept a low profile in recent notably "Hey Mama," written by George Clinton, years but still plays the occasional oldies show in and "Bless You (My Love)." When the company the Detroit area. folded in 1968, Plunk took the group over to Rick Richards’ Fortune Records – page 6

Holland-Dozier-Holland's new Hot Wax Records bluesman, ; orchestra leader, where they experienced their greatest Choker Campbell, who later worked at Motown; achievements with three records in the national and the Royal Jokers. Top 40: "Mind, Body and Soul," "Westbound #9" Sheldon Brown continues to operate and "I'm Not My Brother's Keeper." Fortune Records as a reissue business and plans To be more in tune with the "hip" times, are being finalized to release the Nolan Strong the Embers dropped the ‘s' from their name to catalogue on CD. Additional product is available imply a more unified entity They would produce on vinyl. Sheldon can be reached by writing: two albums for the label, Westbound #9 and Fortune Records, P.O. Box 904, Royal Oak, Sunshine in addition to releasing a total of seven Michigan, 48068; or calling 810-545-2146. singles before disbanding in 1972. Jerry Plunk The author would like to thank the and Bill Ellis have returned to their home state of following people who helped make this article Tennessee and continue to write and record. Mike possible: Cub Koda, Ron Murphy, Mike Schwedt, Jackson remains in Michigan and has also kept Mike Jackson, Costa Lazuras, Bill Menor, Jerry active in the music business, playing for a variety Plunk, Johnny Powers, Francisco Garcia, Dell of local groups in Detroit including the Laredos Vaughan, George Katsakis and Sheldon Brown. and the Reflections. Other Fortune artists who would enjoy later successes include country singer, Roy Hall;

Nolan Strong and the Diablos

The Flaming Embers, 1964. From Left: Jerry Plunk, Joe Sladich, Mike Jackson and Bill Ellis,.