SDC OmniMedia Group Magazine

Hollywood (IFS) - Being a relative “newcomer” to Hollywood, CA in 1974, and just coming out of the military and Vietnam, left me very drained, but motivated at the same time to restart my music career.  Working with Glenn MacArthur at Glenn Records in Palmdale, CA, I managed to fall back into my old habits, just like I did when I was in college.  That drive from the Antelope Valley to Hollywood Boulevard in the middle of day — was only a 40 minute trip.  These days, my friends tell that trip is now two (2) hours each way — everyday.  No matter what time it is, except at 4:30 in the morning. 

However, I start to wonder away from my thoughts — almost;  Remembering Ty Douglas was a moment in time when Motown was moving its’ total operations to Hollywood.  I was an independent record promoter for ABC Records, and promoting a couple of records that were going nowhere.

I had to drop by the office and in the lobby was Lee Rogers, Jimmy Holliday and Ty Douglas, all waiting to see then record promotions’ god of the westcoast, Hose Wilson.  It was magic to meet all of these giants in one spot.   Ty Douglas is not well know on his own name recognition, but with the groups he have recorded and performed with is outstanding.  Douglas was riding the wave with “The Bells” written by Marvin Gaye and the Originals, the last of the motor city super groups were breaking up and Douglas was looking for another gig to keep him there in Hollywood.  When the boys of Detriot got together for a party; they could out party the real party-players in their time.  Douglas’ next appointment would take him to another level, as Holland-Dozier-Holland was in a major fight with Motown and was getting ready to start their own recording company.

The many years on the road and the traveling to the westcoast really didn’t set well with Douglas, but as time would have it, he new group –Eight’s Day — would rocket up the charts keeping Douglas close to the collar and in Los Angeles for another period of time.

Douglas was a very kind and caring person who loved the music business and loved singing.  He would tell me, that he had found the easiest ‘gig’ he could have ever enjoyed.  The girls really loved his vocals.  Starting out with Lee Rogers as a member of the Barons and Peppermints, these gentlemen went on to carve their own paths in the music business.  After a couple of beers, Douglas and Rogers would be out in the back of the yard just harmonizing various vocal parts, just like back in the day.  It was always a ‘vocal’ contest with those two guys, and it was fun to be there just to hear the ideas and the arrangments that would send you off to the piano with a song in your heart.

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Remembering Motown’s Soul groups - By Chris Rizik
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While spending most of their existence in the shadow of Motown’s biggest acts, the Originals had a brief shining moment and a couple now-classic songs that will forever secure their place in Soul Music history.

At their prime consisting of bass singer/songwriter Freddie Gorman (most noted for his composition “Please Mr. Postman” for the Marvelettes), falsetto singer Tyrone Hunter, tenors C.P. Spencer and Hank Dixon, and baritone Walter Gaines, the group broke out in 1970 after several years as a 2nd tier Motown group.  Their vehicle was an absolutely beautiful ballad written by labelmate Marvin Gaye, “Baby I’m For Real.” The song’s arrangement and the group’s performance were both perfect, and it became an instant soul classic that quickly topped the Soul charts.  Gaye helped the following year with a successful sequel, the similarly strong “The Bells.”  However, while similar help from Stevie Wonder (“It’s a Shame”) gave the Spinners the foundation for a sterling 20 year chart career, the Originals’ star fell quickly after the two hits.  Their visibility within Motown decreased when the label moved to Los Angeles and the Originals chose to stay in Detroit.  Though they landed a couple more Soul top 20 hits in 1971 (“We Can Make It Baby” and “God Bless Whoever Sent You”), it would be a half decade and a move to the West coast before the Originals would again have a hit, as the group reemerged as a disco act in 1976 with the hit “Down to Love Town.”  They left Motown in the late 70s and signed with Fantasy Records, where they scored a minor dance hit with a remake of the 50’s hit “Blue Moon.”

The Originals ceased recording by 1981 and, after a brief comeback in Europe as part of Ian Levine’s Motorcity Recordings project in 1982, broke up.  Hunter died, but the remainder of the group reunited from time to time to play the oldies circuit, mostly in Europe.  Gorman died on June 13, 2006 at age 67.

By Chris Rizik

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Andrew Hamilton Review of the Barons/Peppermints -  All Music Guide 
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The Barons were an early-’60s Detroit group more famous for its members (Roger Craton aka Lee Rogers, Tyrone Douglas, and Jesse Greer) than any accomplishment on their own whose records, due to limited pressings, are rare.

As the Peppermints, they cut three for Carmen C. Murphy’s H.O.B. Records (House of Beauty Records). The House of Beauty, a hair boutique/candy shop, was a female hangout frequented by Raynoma Liles-Gordy (Berry Gordy’s second wife). Motown’s Rayber Singers first label credit was on H.O.B.’s first release, an up-tempo sound by Herman Griffin, “I Need You” in 1958; Griffin later cut non-charting singles on both Tamla and Motown Records, and later married Mary Wells.

Gordy and Murphy were partners on Griffin’s release (this was before Gordy started his own label) but Gordy ended the association after the single floundered. H.O.B. affiliated with Mike Hanks’ D-Town/Mah/Wheelsville setup, and Berry and Raynoma started Tamla Records.  H.O.B. issued “Doing All Right” credited to the Peppermints with the flip “Don’t Take, Give” credited to Katie Blue & the Peppermints.

A second offering “I’m So Glad” b/w “Yours Is My Heart Alone” (1959) was issued as Jack Sucrell & the Contours (not the Motown group); a final single in 1960 featured two sides credited as the Peppermints: “Teenage Idol” b/w “Believe Me.” The flashy, well respected group was going nowhere with H.O.B. so they signed with Soul Records (not the Motown label) for two more stiffs credited this time to the Barons: “Money Don’t Grow on Trees” b/w “Dog Eat Dog” and “While the Cats Away” b/w “Who’s in the Shack,” both in 1961.

Not wasting a moment they cut two final releases in 1961 on Spartan Records: “I’ve Been Hurt” b/w “Willow Weep for Me” and “I Miss You So” b/w “Money Don’t Grow on Trees.” Nothing sold and Craton became Lee Rogers on Mike Hanks’ labels but only could muster small hits like “Sad Affair” and “I Want You to Have Everything.” Jesse Greer delved into songwriting for Correc-tone Records and other entities with little success. Tyrone Douglas’ career was the busiest and most fruitful, but nobody knows him cause he sang with groups who members weren’t well known.

Douglas sang with the Magictones then Eight Day on Holland, Dozier & Holland’s Invictus label; he joined the Undisputed Truth in 1973 and recorded with them on Motown and Whitfield Records reuniting with Magictones’ Tyrone Berkeley, Virginia McDonald, and Calvin Stevens; McDonald also sang with Douglas in Eight Day.

— Andrew Hamilton, All Music Guide