Johnnie Mae was one of the first black women to actively own a recording company and made a few recordings in ’59 that were released on her fledgling Northern label. They incorporate her - to quote from the above Michigan Chronicle article - “rock-house blues style delivery” and the reporter enthusiastically informed the newspaper’s readers, “This sensational blues stylist is a real show stopper, who had last Friday night’s capacity crowd at Lee’s Club Sensation dancing in the aisles.” Adding that she “…broke up the crowd with her recorded hits of ‘Ooh Wee Baby’ and her new release titled - So Lonely.”

 Popcorn Wylie also told me she was an excellent performer, “Very exciting, kinda like Tina Turner.”

 Despite the label’s name being taken from a well advertised brand of toilet tissue her recording company soon became a magnet for Detroit’s talented hopefuls. The Northern discography incorporates many luminaries, such as future music-biz playmaker Don Davis who recorded with a band appropriately named The Groovers. The members included session maestros Joe Hunter, James Jamerson, Eli Fontaine, Uriel Jones and Eddie Willis, and Johnnie Mae nonchalantly recalled how the recording came about.

 “Don used to live across the street from me. He was round about 17 years old. He would come over with his guitar and we decided to go into the studio and record.”

"Ooh Wee" by Johnnie Mae Matthews

 Other talented young songwriters and producers at Northern included Richard Morris – who recorded “Pink Cadillac” using the alias of Richard Kateo. Norman Whitfield, who was then part of Popcorn and The Mohawks, cut a 45 called “You’re The One” before the group recorded for Motown in ‘61.

  Singer Edward Hamilton (of The Arabians) also made his recording debut on the Northern label, as did The Distants – a five-some of Elbridge Bryant, James “Pete” Crawford, Melvin Franklin, Richard Street and Otis Williams.

  Johnnie Mae remembered their first meeting as if was yesterday. “I was in the kitchen cooking and they just stopped at the window (singing). They came in and I started playing the piano, they sang harmony. I said - I’m going to record you guys.” Which she did; and their rocking “Come On” was a local hit at the beginning of 1960 due to copious amounts of airplay from WJLB jock “Frantic Ernie” Durham. It was picked up by Warwick records, which also released a follow-up disc that has Albert Edwards replacing James Crawford.

 In the background of “Come On” you can hear Albert Williams plus the female voices of The Andantes, a trio that became Motown’s key background singers and who sang on literally thousands of records. There’s also Jamerson playing bass and Norman Whitfield shaking his tambourine - which all contributes to a full sound that impressed Motown’s Berry Gordy. Johnnie Mae proudly told me that he once asked her, “How did you get that sound?” It was something he wanted to emulate and it wasn’t long, subject to a couple of personnel changes, before the quintet signed with Motown and had a new name - The Temptations.

"Come On" by The Distants

 Richard Street formed a new set of Distants with Alphonso Galloway, James Weaver, Albert Harrell plus a singer simply remembered as Johnny, and the quartet cut a 45 for the newly formed Thelma label titled “Answer Me.” 

 By the early Sixties the Northern label had released around twenty 45s, and sister labels, Audrey, Bon and Reel had also put out records, occasionally using a common numbering system. 

 Image notes: Although he isn’t credited, this Atlantic 45 was produced by Robert Bateman and was cut on 12^th Street, either at the first Correc-tone studio or at Continental. Mike Hanks was one of Johnnie Mae’s (pictured) early partners.  

 Candid and unflinching, Johnnie Mae struck deals with some of the motor city’s other movers and shakers, as well as players outside of Michigan. This was at the beginning of the Sixties when Detroit was just starting to expand its own musical arena and before Motown had grown into the city’s monopolizing powerhouse.

 Robert West, the owner of Flick - Contour and Lupine Records, dealt with the publishing on many of Johnnie Mae’s early compositions and helped to negotiate Betty Lavett’s contract with Atlantic Records. The result saw fifteen year old Betty’s first 45, the tremendous “My Man – He’s A Lovin’ Man,” deservedly make Billboard’s chart in ‘62.

 "My Man" by Betty Lavette

 Another partner was the ubiquitous Mike Alonzo Hanks. Johnnie Mae is credited as co-writer on Mike’s first MAH’S label release - a honking instrumental called “Inkster Boogie” recorded by The Egyptians. She also helped to pen the Billy Kent and The Andantes 45 - “Take All of Me” - and the first pressings of this second MAH’S disc have her Blaine address on the label. It was subsequently picked up and distributed by Roulette.

 Many national record distributors had offices located along Woodward Avenue, the city’s main meridian, and this section was nicknamed Record Row. Strung along a couple of blocks they included Cosnat at number 3727, which dealt with Atco, Duke and Jubilee. Music Merchants Inc.’ was at 3731, King Records at 3720 and Cadet was at 3766. Consequently making a deal was comparatively easy, and Johnnie Mae remembered that mostly the companies would actually contact her after they’d heard a disc on the radio.

Image notes: A Michigan Chronicle clipping from April, 1964, and some of Timmy’s recordings.

  Timmy Shaw, whose real name was Jake Hammonds Jr., and James Bennett were Johnnie Mae’s chief song-writing collaborators. Timmy also had a hand in producing some of the sessions, but he’s best known for his Wand hit, “Gonna Send You Back To Georgia.” It climbed Billboard’s chart at the beginning of ’64 and is one song that Johnnie Mae had a hand in writing which perpetually brings home royalties after since being covered by various artists. Collectors might like to know it was originally released as “City Slick” on the B-side of an Audrey label 45 before Wand changed it to something more appropriate.

 Timmy had recorded an Audrey label 45 back in 1960, titled “Hey Baby” b/w “Taste Of The Blues.”  But in ’62 he made a truly great double-sided Bon label 45 - “Thunder In Your Heart” is a solemn cut that reverberates with the Blues, while “No More”  bounces along whilst dishing out what was to become known as Soul.

"Thunder In Your Heart" by Timmy Shaw

 His 1961 Reel disc, “Throw It Out Of Your Mind,” was picked up by Josie and there were follow-ups on both Josie and Wand. He also recorded a jocular duet with Johnnie Mae in ’61 titled “I Don’t Want Your Loving” that was also released on Reel. The pair would often tour and perform together, and this song gives listeners a glimpse of their bonhomous camaraderie.

 During the later Sixties Timmy recorded a duet with Chuck Holiday titled “You Better,” plus a 45 on jock Martha Jean “The Queen” Steinberg and partner Pete Hall’s local Premium Stuff label. It was another duet, this time with “Little Melvin” Walton, which Johnnie Mae co-wrote and produced with Timmy not long before he died, in March, 1968.

Image notes: Eddie Phelps’s nightclub was one of city’s most popular spots and featured the nation’s top soul acts in the ‘60s.  The Falcons lead singer was Carlis “Sonny" Monroe and the Detroit group had a hit in ‘66 with “Standing On Guard.” This gig was in ‘67 and the fashion conscious will note the man seated at the front is not wearing regular socks, but a pair of “think n’ thins.”  

Continued

© David Meikle : All Rights Reserved