MAESTROS, MUSIC PLEASE! — THE DETROIT SOUND STORY
By Kenneth Howard Smith
The “D” in D-Town stood for Detroit—a city pulsing with energy, ambition, and rhythm, yet paradoxically, one where the record industry was scarce while raw talent overflowed on every corner. Detroit in the late 1950s and early 1960s was a city of contrasts: bustling automotive factories and quiet church pews, neon-lit bars and basement jam sessions, all intertwined with an undercurrent of musical genius waiting to be heard.
Back then, the music business was dominated by the Bhari Brothers out of California, whose Modern/Kent Records roster boasted heavyweights like Lowell Fulson, B.B. King, Etta James, and the Rhythm Kings led by Ike Turner. They were the marquee acts, setting a standard for blues and R&B nationwide—but in Detroit, the talent pool was homegrown, brimming with young musicians eager to make a mark. The city was ripe for a recording revolution.
The challenge, however, was steep. In order to get records pressed, local artists needed sponsorship from a reputable business or agent in the recording world. Distribution was controlled by The Music Distribution Company, which owned a slice of a pressing plant in Memphis, Tennessee, responsible for pressing records for independent labels across the East Coast. Detroit’s fledgling record producers had to navigate this complex network, relying on savvy business partners to get their music into the hands of listeners.
Enter Carmen C. Murphy, an extraordinary woman whose entrepreneurial spirit reshaped the local music landscape. Already a millionaire from her wildly successful cosmetics business, Ms. Murphy was determined to branch into music, and she saw gospel as the perfect starting point. With guidance from Jack Ellis—a talented radio engineer at WBLD-AM who produced a gospel morning show and wrote the House of Beauty commercials—Murphy launched House of Beauty Records, soon shortened to HOB Records.
HOB Records quickly became a force in gospel music. Their recordings were amplified by the sponsorship of a Sunday morning church broadcast over WBLD-AM, connecting with a devoted audience of listeners who craved uplifting sounds. Jack Ellis, in his tireless efforts, worked with a local teen group called the Peppermints, nurturing their talent in the basement of Murphy’s House of Beauty salon. Murphy’s dream was revolutionary: to create the first black-owned beauty supply company that could also produce and distribute music that mattered.
Meanwhile, D-Town Records emerged in 1957 under the direction of Mike Hanks. Originally called MAH’s Records, the label’s debut release, “Sad Affair” by Lee Rogers, marked the beginning of what would become a monumental chapter in Detroit’s musical history. Mike Hanks was passionate, driven, and fearless, but also volatile—a trait that would ultimately lead to his tragic death. By the time he left D-Town for Motown, the label was a shadow of its early promise, briefly distributed through Berry Gordy’s Hitsville network before Berry’s sights were set on acquiring it to limit competition in Detroit.
Berry’s strategy was clear: purchase smaller labels, absorb their talent, and expand Motown’s dominance. Golden World Records, for example, housed the Romeos, whose hit “Just Like Romeo and Juliet” reached #1, while other acts like the Hollidays, featuring Don Davis, migrated south to continue producing groundbreaking music for CBS Records, including Johnny Taylor’s Disco Lady, the first RIAA-certified platinum hit of its kind.
Similarly, Ric-Tic Records became Motown’s formidable competitor, spinning hits for the Detroit Emeralds, Edwin Starr, Denise LaSalle, and the Ohio Players. Yet Berry’s genius lay in his signature touch: the sweeping symphony strings on Motown records, a sound he applied even when unnecessary, a sonic hallmark that distinguished his label from all others.
And at the heart of this rhythm revolution was one man: James Jamerson. The mighty bassist whose ear and intuition carried both D-Town and Motown tracks to life. Jamerson could listen once and deliver—no sheet music, no instructions, just raw talent and relentless drive. His basslines were the heartbeat of hits like Jr. Walker’s “Shot Gun”, where Jamerson’s syncopated rhythms drove the song to the top of the charts. I remember sharing a bottle of wine with him at his home before he passed in 1979, laughing at his insistence that a drink was always in order. Dressed impeccably, Jamerson lived music, and his stories, laced with humor and pride, painted the life of a true maestro.
The tragic side of this world was never far away. Mike Hanks’ fiery temperament led to his violent death at the hands of his girlfriend’s brothers. Mike, a man quick with his fists and always ready to confront, had gone too far, and vengeance found him at the doorstep of his own club. Yet even in tragedy, D-Town persevered. Partners like Pete Hall spun off subsidiary labels—Premium Stuff, Wheelsville, Rotary Records—giving artists like Lee Rogers a chance to work with new producers and expand their musical horizons.
Lee’s journey took him to Memphis, Tennessee, to work with the London/Hi Records producer. There, in a session that would become legendary, Lee recorded “Love For A Love” in a mere fifteen minutes. Accompanied by the legendary drummer Al Jackson, Jr. and bassist Donald “Duck” Dunn, Lee delivered the vocal track in one take—no sheet music, no notes—pure instinct, pure talent. The song became one of his biggest sellers, second only to “I Want You To Have Everything”.
Hollywood beckoned next, a city Lee had flirted with earlier in his career when he appeared on ABC Television’s Shindig with the Moody Blues. By the time Berry moved Motown to Los Angeles, Lee was ready for a new chapter. Along the way, he briefly partnered with Walter Stone of Loadstone Records, recording “Love Bandit”—though contractual disputes limited the collaboration.
Eventually, Lee’s path led him to meet Jimmy Holliday and me in Hollywood. And thus began the beginning of a beginning, a chapter in music that would fuse Detroit soul with California dreams, nurturing talent, passion, and the heartbeat of an era.
Through the chaos, genius, and heartbreak, the story of D-Town, HOB, and Detroit’s musical explosion is a testament to perseverance, creativity, and the profound impact of love—for music, for the craft, and for the people who bring it to life. It is a history of rhythm and melody, of struggle and triumph, and of maestros whose notes echo far beyond their time.
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