What makes Ric Tic tic?

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Triode.</b></div> <div> <B><IMG BORDER="0" SRC="Symb075c00b700a00000ff00.gif" HEIGHT="11" WIDTH="24" ALIGN="bottom" HSPACE="0" VSPACE="0">The Chandlers - I'm gonna take a chance.  c/u</b></div> <div> <B><IMG BORDER="0" SRC="Symb075c00b700a00000ff00.gif" HEIGHT="11" WIDTH="24" ALIGN="bottom" HSPACE="0" VSPACE="0">Detroit Agents - Give my love one more try. Lib.Bell.</b></div> <div> <B><IMG BORDER="0" SRC="Symb075c00b700a00000ff00.gif" HEIGHT="11" WIDTH="24" ALIGN="bottom" HSPACE="0" VSPACE="0">The Twans - I need you baby.  c/u</b></div> <div> <B><IMG BORDER="0" SRC="Symb075c00b700a00000ff00.gif" HEIGHT="11" WIDTH="24" ALIGN="bottom" HSPACE="0" VSPACE="0">Sam Coultraine - Watch out for the heartaxhes.  c/u</b></div> <div> <B><IMG BORDER="0" SRC="Symb075c00b700a00000ff00.gif" HEIGHT="11" WIDTH="24" ALIGN="bottom" HSPACE="0" VSPACE="0">Al Williams - Your love has got me (on the run).  c/u</b></div> <div> <B><IMG BORDER="0" SRC="Symb075c00b700a00000ff00.gif" HEIGHT="11" WIDTH="24" ALIGN="bottom" HSPACE="0" VSPACE="0">Ltl. Joe Romans - The bigger they come.  Tuff.</b></div> <div> <B><IMG BORDER="0" SRC="Symb075c00b700a00000ff00.gif" HEIGHT="11" WIDTH="24" ALIGN="bottom" HSPACE="0" VSPACE="0">Soul Set - I don't want her, but I need her.  Johnson.</b></div> </NOBR></tD> <tD VALIGN=TOP WIDTH="408"><div> INCREDIBLY<FONT SIZE="1" COLOR="#0000FF" FACE="Arial Rounded MT Bold" > 15 years have past since the now legendary Ric Tic label was last active, yet records by such acts as Edwin Starr, J.J Barnes, Al Kent, the Fantastic Four, the Detroit Emeralds, Laura Lee and the San Remo Golden Strings on Ric Tic itself and the Reflections, the Debonaires, Barbara Mercer, the Holidays, Pat Lewis and Ronnie Savoy on either of its two sister labels, Golden World and Wingate are still highly revered and collected to this day.</FONT></div> <div>   An almost unbelievable state of affairs which must still amaze both Edwin Starr and J.J. Barnes even after their many visits to these shores. However, for Pat Lewis, Al Kent, Lou Ragland (who replaces Laura Lee who looks doubtful to appear) an All-Nighter will be an entirely new experience.</div> <div>   Golden World Records was formed in 1961 by Ed Wingate, a wealthy Detroit businessman. Later the company expanded to house three labels with Ric Tic emerging in 1964. Edwin Starr gave the label its first hit with `Agent Double-O-Soul' in 1965 which went to number eight in the r&b charts followed swiftly by `Back Street' (number 33) and `Stop Her On Sight (SOS)' (number nine). None of his other three releases reached the national charts.</div> <div>   J.J. Barnes had just four releases; `Please Let Me In', `Real Humdinger' (his only chart  hit for the label), `Day Tripper' and `Deeper In Love'. In 1967 Barnes moved to Groovesville, a new label set up by his co-producer , Don Davis, prior to the sale of Golden World to Motown.</div> <div>   Al Kent had just one hit for the company, `You've Got To Pay The Price', which went to number 22 in 1967. In 1969 a vocal version of the song by Gloria Taylor was an even bigger success on Silver Fox. Taylor figures in the background of J.J Barnes as she was a member of the Dell Fi's (sic) who provided the vocal support on one of his pre-Ric Tic singles. Kent, or to give him his real name of Al Hamilton, had three singles released on Ric Tic, including `The Way You've Been Acting Lately' and one on Wingate, but he was more than just an instrumental artist. He was a mainstay of the company, and his brother Bob, co-writing and producing many releases including Starr's `Stop Her On Sight' (SOS), the Detroit Emeralds' sole hit for Ric Tic, `Show Time', and six out of seven of the Fantastic Four's hits.</div> </tD> </tR> <tR> <tD VALIGN=TOP HEIGHT= 521 WIDTH="307"><div>  <FONT SIZE="1" COLOR="#0000FF" FACE="Arial Rounded MT Bold" >In comparison the Golden World label had just one chart placing with the Holidays' `I'll Love You Forever' in 1966 while there were none on Wingate. By 1968 the Ric Tic label had notched up 13 chart records out of 46 releases, six of which reached the r&b top 20. Ever watchful of local competition, Berry Gordy purchased Golden World from Ed Wingate in 1968. However, out of the whole roster he chose to retain just two acts; the Fantastic Four following their consistent run of success and Edwin Starr, although by this time his hits had stopped altogether except for a single from an album he had produced on a group of Italian-Americans the Shades Of Blue (like the Manhattans and Reflections on Golden World) whose `Ooh How Happy' (later a hit for Starr and Blinky) was a top 20 r&b charter. What may have impressed Berry Gordy more though is the success `Stop Her On Sight (SOS)' achieved on re-issue in the UK on Polydor. The song entered the pop Top 10.</FONT></div> <div>   Starr was placed with the Gordy label debuting with `I Want My Baby Back' while the Fantastic Four appeared on Soul. Their first single was `I Love You Madly' which was also their last single on Ric Tic, a quick label switch being made to capitalise on the single's success. An album comprised of their Ric Tic singles was also issued but only three new singles were subsequently released. In 1974 the group turned up first on Eastbound then on Westbound Records where they stayed until 1978. Three of their albums for the Detroit-based company were produced and written wholly or in part by Al Kent. Since then says Edwin Starr "to all intents and purposes Al has been inactive although I'm hoping to get him back in a studio in the near future".</div> </tD> <tD VALIGN=TOP BGCOLOR=#FFCC33><NOBR><div>                                    <IMG SRC="3bdf7040.gif" border=0 width="247" height="516" ALIGN="BOTTOM" HSPACE="0" VSPACE="0"></div> </NOBR></tD> </tR> </TABLE></div> <div> <TABLE BORDER="0" CELLPADDING="2" CELLSPACING="0" WIDTH="729" BORDERCOLORLIGHT="#C0C0C0" BORDERCOLORDARK="#808080" FRAME="VOID" RULES="NONE" ALIGN="BOTTOM" HSPACE="0" VSPACE="0" > <tR> <tD VALIGN=TOP HEIGHT= 1192 WIDTH="725"><div>   <FONT SIZE="1" COLOR="#0000FF" FACE="Arial Rounded MT Bold" >Pat Lewis hasn't been noticeably active recently either. After her solitary single on Golden World, `Can't Shake You Loose', which was co-written by amongst others George Clinton and J.J. Barnes, she moved to Solid Hit where four singles were released; `Look At What I Almost Missed' in 1966 and `Warning', (I Owe You) Something' and `The Loser' in 1967. Returning the favour for `Can't Shake You Loose' Pat co-wrote some songs for Clinton's Parliaments. `I'll Wait' co-written with Clinton, came out on Acta in 1969 in the days before Parliament dropped the `s' from their name and went freaky. Pat had previously co-written a song for the Reflections entitled `Wheelin' And Dealing' when she was on Golden World. In 1970 Pat joined Tony Orlando and Dawn, who enjoyed a number of big Pop successes in the early Seventies including `Candida' and `Knock Three Times'. In 1971 she became a member of Hot Buttered Soul, Isaac Hayes' group of background vocalists. She appears on all of his albums through from `The Isaac Hayes Movement' up to `Joy' in 1973. Not only does she sing but she also provides all the background vocal arrangements. When Hayes moved to ABC from Stax Enterprise her contribution stopped.</FONT></div> <div>   Lou Ragland's link with the Ric Tic Revue is through Edwin Starr. Starr was born Charles Hatcher in Nashville, Tennessee, but moved to Cleveland, Ohio at a very young age and Ragland hails from Cleveland. They have been good friends for many years. "Lou was one of the original singers with the O'Jays when they were still a five-member group", reveals Edwin Starr. "They were called the Ascots then, which is a word we used for a cravat. He recorded with them for King. They did a couple of records I believe," he says. That would have been in 1957 / 58 but Ragland's debut was as Lou Mac on Chicago's Blue Lake label in 1954 / 55.</div> <div>   In the late Sixties and early Seventies Ragland produced a number of local Cleveland acts; the Soul Notes, Jesse Fisher (both on Way Out), the Imperial Wonders (on Day Wood) and Hot Chocolate (on Cleveland). However, everybody on this side of the Atlantic knows him best for his northern biggies `I Travel Alone' which came out on the Amy label. Ragland also recorded for the Way Out label and has had two albums released on the SMH label, one of which was only available as an eight-track. His other singles are all included on his LP `The Conveyor' released in 1975. `Understand Each Other' came out on SMH itself, `The Next World' (on Coco) and `You Said You'd Be Mine' was actually issued in the UK on Warner Brothers. Starr, who has just started up his own label, A.S.K., reveals that, "we already have a single prepared for him on A.S.K. At the moment he is just doing gigs and working at a club here in LA."</div> <div>   Of the five acts appearing this weekend, Edwin Starr of course has been the most successful. Originally he started out with local Cleveland groups the Imperials and the Future Tones, but soon obtained recognition when he won a talent contest which lead to a tour with Billlie Holiday, one of her last. After two years in the Services he joined Bill Doggett's band and toured with them until he met up with Lebaron Taylor (now president of the Black Music Association) but then a local DJ. He introduced Starr to Golden World and gets co-composing credits on Edwin's first two Ric Tic singles under his pseudonym of B. Sharply.</div> <div>   Following Ric Tic Starr's first big hit was with `Twenty Five Miles' in 1969 but the biggest was with his version of a Temptations' album track `War', which was an international hit for him. Both `Stop The War Now' and `Funky Music Sho Nuff Turns Me On' were strong follow-ups. After a number of moderate singles Motown offered Edwin a soundtrack, `Ain't It Hell Up In Harlem' (although only after Marvin and Stevie had turned it down). His last single released in November 1974 was `Who's Right Who's Wrong' produced by ex-Spinner G.C. Cameron.</div> <div>   In 1975 he joined Granite Records, an affiliate of ATV, and although the album he recorded wasn't successful as he would have hoped, the freedom to be able to write, arrange and produce himself was something he hadn't fully enjoyed since his Ric Tic days, consequently, the album was entitled `Free To Be Myself'. In 1976 he signed with GTO and from that association came the `afternoon Sunshine' LP. That deal led to his signing with 20th Century. His debut album for the company was `Clean' which was produced partly by Lamon Dozier and partly by Edwin. Starr's contribution included `Contact' which brought him back into the winner's circle. Since then two albums have been released, `H.A.P.P.Y. Radio' and `Stronger Than You Think I Am', the latter coming out in 1980.</div> <div>   Since then he has been involved in a couple of projects including an exercise record for Disneyland entitled `Mousercise' which he wrote and sang two songs, `Tweedle Dee Tweedle Dum' and `Get The Money'. His reason for being involved in the project is, he says, "to show America that I could do other material". Despite their titles Edwin maintains that the songs are enjoyable in themselves. His latest project, however, is the new record company he has set up with his manager Lillian Kyle. The label is called A.S.K. and is based in Los Angeles, but they have already secured a UK deal with Avatar Records, an independent distributed by CBS. Edwin is confident that a small label deal is the right move and says that `the independents are the ones that are holding the charts right now". His new single entitled `I Wanna Take You Home' has just been released and an album, `For Sale' is due shortly. Judging by the single, a fine mellow number with Edwin's usual impassioned vocal turning the song into a gem, the album should be a corker. He still retains the same enthralling delivery of his Ric Tic days in my opinion, so order it now.</div> <div>   J.J. Barnes has been a prolific recording artist for several years at least in terms of the number of labels he has recorded for if not in terms of actual records released. He was born in Detroit and remembers his first record as `Won't You Let Me Know' on Kable (later re-issued on Rich) in 1960.</div> <div>   He had at least two records for Mickay's `Teenage Queen' and `These Chains Of Love'. Other pre-Ric Tic recordings were `Just One More Time' (Scepter, 1963) and `Poor Unfortunate Me' (King, 1964), the latter also recorded by Gigi And The Charmaines.</div> <div>   As mentioned earlier on leaving Ric Tic he moved to Groovesville where he cut three singles `Baby Please Come Back Home', `Sweet Sherry' and `Now That I Got You Back'. These sides were leased to Stax who put them out on an album back-to-back with Groovesville label mate Steve Mancha. The album is entitled `Rare Stamps'. From there he moved to Revilot finding himself on the same label as ex-Golden World acts, the Holidays and Rose Batiste. Four singles emerged, `Now She's Gone', `I'll Keep Coming Back', `Our Love Is In The Pocket' and `So Called Friends' then one single on Buddah, `Evidence', and one on Volt, `Got To Get Rid Of You', before Barnes cut his first album for Perception entitled `Born Again'. The album was cut in Philadelphia with Tony Bell, Deodato, David Jordan and Patrick Adams (noted for his `Atmosphere Strut' production for Cloud One). Unfortunately the label folded shortly afterwards and what was really an excellent album sank without trace.</div> <div>   In 1974 Contempo picked up rights to some of Barnes product in the UK debuting with `To An Early Grave' from the Magic Touch label. Some months later they issued `Sweet Sherry' originally on Groovesvillle and brought out a `Groovesville Masters' LP with five tracks from the `Rare Stamps' set plus `To An Early Grave' and `Cloudy Day' from Magic Touch and four previously unissued cuts. In 1975 Barnes had one single on Organic but from 1976 J.J. started recording in the UK with Contempo producing and Garry Shury arranging. Three singles were released, `The Errol Flyyn', `Sara Smile' (the Hall and Oates ballad) and `How Long' (the Ace tune) resulting in an album in 1977.</div> <div>   Over the years there have also been singles by J.J. under various pseudonyms, for example, Jay Rhythm and Leo and James Barnes and The Agents on Golden Hit, but his last appearance on vinyl was in 1982 on an album by the New York Express featuring Mickey Denton (who recorded in the Sixties for Impact). The LP is entitled `Hot On The Cue' on the Cherie label with Barnes providing additional vocals. What we need though is J.J. back on record in his own right as a solo act.</div> <div>   This Ric Tic Revue is the biggest happening in Sixties soul in years so don't miss it.</div> <bR> <div> <B><U>- Steve Bryant</U></b></div> </tD> </tR> </TABLE></div> <bR> </td> </tr></table></body>