PaperDreams Radio

Monday, November 10, 2025

Kenneth Howard Smith - THE GREEN LINE - When The Train Whistle Blows

 

THE GREEN LINE
Written and Narrated by Kenneth Howard Smith
Produced for SDC Audiobooks, a unit of SDC OmniMedia Group


“Well, I guess I have to get on with my story, don’t I?”

This is Kenneth Smith. Kenneth Howard Smith.

And believe it or not, what I’m doing here is telling you a story about The Green Line. It’s more than what one might expect—a blend of fact and fiction, history and heartache. A story drawn from the marrow of real people who once walked this earth and shaped its conscience, long before any of us came along.

It began, as many tales do, with a woman.

Her name was Hattie Roland Green—or, as the records show, Hattie Robinson Roland Green. She lived in Boston at the turn of a century when the city’s cobblestones still echoed with carriage wheels, and when the weight of one’s name could decide the course of a life.

But Hattie’s tale is not just hers—it winds through her husband, her home, and one forbidden love that changed the line forever.


Chapter One: The House on Beacon Hill

In 1838, Lord Thomas Courtney Green, an English-born gentleman with old money and a wandering eye, inherited a tall brick home on Beacon Hill. The house looked east toward the harbor, where the fog would roll in each morning and hide the ships that fed the city’s hungry ambition.

Thomas Green was a scholar, a drinker, and a man who fancied himself misunderstood. He had a wife, Hattie, with grace enough for two people—and pride enough for ten. Together they had two children: Elizabeth, the eldest, sharp as her mother; and Edwin, the younger, born with the quiet dignity of a thinker.

But beneath the fine silver and polished manners, the Green household held secrets.

Among the servants was Hannah, a young mulatto woman whose mother had been a free black seamstress and whose father was rumored to have been a merchant from Charleston. Hannah’s beauty was the kind that didn’t ask for attention but carried it, like the scent of lilacs in spring. She worked for the Greens—quiet, capable, loyal—and for a time, invisible.

Until she wasn’t.


Chapter Two: The Affair

Lord Thomas noticed her first in the kitchen one evening while the family was away. She was humming an old hymn, sleeves rolled up, a strand of hair fallen loose against her cheek. He asked her name again as though he’d forgotten.

“Hannah,” she said, without looking up.

That name lingered with him.

Days turned into evenings stolen at the edge of candlelight, where words grew into touches and promises into something unspoken but deeply known. Thomas, in his weakness, convinced himself it was love. Hannah, in her heart, hoped it might be mercy.

When she learned she was with child, the walls of that grand house seemed to close in on her. She told him quietly one night, trembling not from fear but from knowing what the world would do with such a truth.

He swore he would protect her. But protection, like love, can be a coward’s promise.


Chapter Three: The Reckoning

When Hattie Green discovered the affair, it was not from gossip, but from the sound of Hannah’s crying through the floorboards. Hattie had always been proud—Boston society demanded it—but she was not cruel. Still, betrayal cuts differently when it comes from under your own roof.

Thomas was sent away that night. His trunks were packed by the butler; his carriage rolled down Beacon Street by dawn. Hattie watched from the window, her jaw set in iron.

But she did not cast out Hannah.

To her, the child—born of sin, yes, but also of her husband’s blood—belonged to the lineage whether anyone wished it or not. “If he is a Green,” she said, “then he shall be raised as one.”

And so, when the doctor signed the birth certificate, it read:
Father: Lord Thomas Courtney Green.
Mother: Hannah Robinson.
Child: Edwin Truman Green.

Hattie named the boy herself.


Chapter Four: The Green Line

The years passed quietly after that. Hannah continued in her duties, though now treated as more than a servant, less than an equal. She lived in a small chamber near the nursery so she might nurse her son, while Elizabeth and young Edwin—the elder siblings—grew up learning to share their toys with the boy their mother never spoke of but never ignored.

Boston society whispered, of course. They always did. But the Green family carried on—stiff-backed and silent.

Lord Thomas never returned. Some say he went west, chasing fortunes in the mining fields. Others claim he died at sea. Whatever truth there was, he vanished from the record, leaving only the scandal and a son who bore his eyes.

Hannah, for her part, raised the boy with patience and quiet strength. She taught him to read by lamplight and to pray in whispers. She told him, “Don’t ever be ashamed of your name. The Green blood runs deep, but so does the Robinson heart.”


Chapter Five: Love, Legacy, and Forgiveness

As the decades turned, the children of the Green household grew and scattered. Elizabeth married a lawyer from Philadelphia. Edwin, the legitimate son, became a schoolteacher. And young Edwin Truman Green, the boy born in scandal, became a man of conscience—a bridge between two worlds that Boston never wanted to meet.

He fought for the rights of the forgotten, gave sermons in small churches, and later traveled south to teach newly freed children how to read. Wherever he went, he carried with him the story of his mother’s grace and his father’s weakness—and he turned them both into strength.

When Hannah died, the elder Hattie Green attended her funeral. No words were spoken, only a nod—one woman acknowledging another who had endured the same man and the same world in different ways.

Hattie lived long enough to see Edwin Truman’s first book published: “The Green Line: A History of Family, Freedom, and Forgiveness.”

And that is how this story came to me.

Because the Green Line was never about wealth or legacy—it was about the invisible thread that binds all of us: the quiet strength of women, the stubborn hope of love, and the truth that forgiveness often outlives the people who need it most.

Saturday, November 8, 2025

Vinyl Knights - CROSBY, STILLS & NASH: THE LOST CONCERT VIDEO - By Kenneth Howard Smith

 

CROSBY, STILLS & NASH: THE LOST CONCERT VIDEO

“SAVE THE WHALES – JULY 28, 1978”



There are certain years that etch themselves into memory—not for triumph or tragedy alone, but for how life seemed to tilt in a single season. For me, 1978 was one of those years.

I owed a favor. Conte Candoli, the great trumpeter from The Tonight Show band, had fallen ill. NBC was winding down The Johnny Carson Show, and the musicians who had held up that late-night sound were suddenly being let go. For years, it had felt like that gig would never end—and then, just like that, it did.

That same summer, the cause of saving the whales brought together a most unlikely mix of celebrities, activists, and dreamers. The event was hosted at the elegant Eloquent Manor on Adams Boulevard in Los Angeles. Loretta Swit, Cleveland Amory, and others were at the forefront, rallying for the whales. I was in charge of the entertainment—a role that gave me the rare chance to call in a few favors of my own.

At that time, Linda Lou Kestin and I were spending most of our free moments roller skating down Venice Beach. We’d write songs between skate sessions, surrounded by sunshine, music, and a steady parade of beautiful, eccentric souls gliding past in wild costumes. The beach was our studio, our sanctuary. Between the writing sessions, the laughter, and the waves, we dreamed up new melodies that carried the freedom of those afternoons.

Professionally, though, I was still tied to Gwendolyn Gordy and Motown Records. The contract held me tighter than I’d hoped. By all accounts, I should’ve had a new deal on the horizon, but being bound by paper and ink meant my hands were tied. So I went back to what I knew best—promotion.

I’d learned the craft years before under Glen MacArthur at Glenn Records in Palmdale. Those lessons carried me far. With help from Kay Saunders Palmer and the Associated Booking Corporation, I began moonlighting as an in-house producer in Beverly Hills. Tony Papa gave me a corner of his empire—SDC Communications and Platinum Sound Productions—right in the heart of town. The arrangement was simple: I handled client lists, promotions, and concert coordination. I also kept an eye on the kind of high-maintenance stars who loved the road more than home.

That inherited client list read like a soundtrack to the era: the Candoli Brothers, Caroline Cline (Miss West Virginia 1978), Les Elsgard, Louie Bellson, Bobby Caldwell, The Sylvers, Little Richard, the SOS Band, Undisputed Truth, Frankie Beverly and Maze, B.B. King, Bobby “Blue” Bland, and Johnnie Taylor.

When the first-ever “Save the Whales” fundraiser took shape in Los Angeles, the guest list exploded. Hugh Hefner lent his fleet of Playboy limousines to ferry guests: Johnny Paycheck, Sigourney Weaver, Pearl Bailey, Willie Nelson, Lacy J. Dalton, Pete Candoli, Pat Morita, Robert Guillaume, Sherman Hemsley, Neil Young, Dusty Rhodes—the names went on and on. Bobby “O” Ormsby and his band set the tone as guests roller-skated on a portable floor under the stars.

Amid the music and motion, a young man caught my eye. He was lugging around a new Sony Betamax portable video unit, capturing everything he could for a documentary about Cleveland Amory and the movement to save the whales. His name was Paulino Estrada, a film student from Colombia studying at the California School of Film in Santa Monica. His passion was pure, his energy relentless. He was also close friends with my girlfriend, Barbara Gannon—known to most as Stella Starlight.

Barbara adored him. She said he was the kind of dreamer who reminded her why people fight for things bigger than themselves. When Paulino asked to film everything, I gave him my blessing on one condition: that he’d send a copy to the club archives. He agreed—and later asked if he could take the event banner with him to Washington, D.C., for the Crosby, Stills & Nash concert at the Capital Centre.

A few days later, we found ourselves in D.C. It was scorching hot. One of Paulino’s cameramen never showed, so I ended up behind Camera Three—holding the wide shot for what became an unforgettable performance.

We stayed in the city for three days. On the last night, just before our flight home, Paulino appeared at our hotel room door, bruised and shaken. He carried a small canvas bag containing four UVS backup tapes of the CSN concert. He said he’d been roughed up and needed to get back to Colombia.

Barbara and I scraped together $10,000 and handed it to him. He promised he’d return the money and reclaim the tapes after a couple of months. Barbara hugged him goodbye, told him she loved him, and wished him safety on his way home.

Those tapes sat on our dinner table for months, untouched. Later, they were moved to a closet—where they stayed for years. Then came the year that broke me—the year I lost Barbara, my Stella Starlight. She had been the pulse in every beat of my life. When she was gone, even the light in Paulino’s eyes—her “starlight”—faded from memory. He never returned.

By 1980, Lee Rogers and I decided to breathe life back into D-Town Records. Billboard ran a small notice that November. I packed up and moved my things to Kay’s place, storing the tapes in the D-Town/Platinum Sound vaults for safekeeping. Five years later, I moved everything again—to Las Vegas—where my sister Erma Jean kept the masters stored for more than a decade.

Then, in 1993, Goldmine Magazine published an article about missing concert footage from the Crosby, Stills & Nash “Save the Whales” concert. The trail led straight to me. I wasn’t hiding it; truth was, nobody really cared back then about “just another” concert video. Except—it wasn’t just another. This was history, captured on film.

Pete Candoli called me after reading the piece. He had a contact in Coral Gables, Florida, who was looking for concert footage to distribute. Pete reminded me of that old favor I owed from the very first “Save the Whales” benefit. So, I took the call.

The company was Canyon Creek Productions—a small outfit, but eager. They offered $50,000 for a two-year licensing deal, to be paid in two installments of $25,000, with a $5,000 advance. We signed the agreement. SDC Communications retained all publishing and video rights, and I made sure the tape was copied and properly filed with the Library of Congress. Their first check cleared the bank. Then, like Paulino, they vanished.

Years later, in January 2007, a copy of that same concert found its way to The Jimmy Kimmel Show and ABC News.

Some tapes hold more than music. They hold people—voices and faces that time keeps replaying long after they’re gone. That night in 1978 wasn’t just about saving whales. It was about saving moments before they disappeared into the tide of history.

And somehow, through a handful of videotapes, a few lost friends, and a love that never dimmed, the music of that night still plays on.


Would you like me to add a brief prologue or afterword—something that frames the story as part of your broader music chronicle? It could help connect this piece to your larger narrative series.

Vinyl Knights - Coleman Kestin And Smith - From Vinyl to Data - By Kenneth Howard Smith

 

Coleman, Kestin & Smith – The Vinyl Knights

By Kenneth Howard Smith




It began, as most remarkable stories do, with an envelope.
Sometime in 1979, Linda Lou Kestin handed Kenny Smith a simple packet holding more than twenty-five handwritten lyrics — songs that had lived in her notebooks, her imagination, and her heart for years. She’d been planning to send them off to several songwriting contests, but that day, she entrusted them to a friend and fellow dreamer.

Linda’s history in music was already seasoned with rare opportunities. Her first record came through the legendary Lee Rogers, when he recorded “Love and Life,” a single she co-produced under CKS Productions. The label found distribution with Claridge Records, releasing its lone single “Train of Desire” by Total Force featuring Demene E. Hall. Not long after, Paul McCartney’s MPL Communications acquired Claridge and dropped the small label — an all-too-familiar turn in the music industry’s wheel of fortune.

Rogers came back strong in 1980 with “It Must Be Love,” written by Kestin, affirming her growing voice as a lyricist. Then, in 1986, Smith recorded one of Linda’s early works, “You Make My Life So Beautiful,” performed by a group called Better Half. Though the vocals turned out lighter than intended, the track still made its way onto their album of the same name — a sign that Linda’s songs had a way of finding their place in the world.

Through the late seventies and eighties, Linda balanced art and responsibility with equal grace. She was raising two teenage daughters in Santa Ana, working as vice-principal at a leading magnet school, and teaching — all while nurturing her creative soul. Writing lyrics and singing were her private sanctuaries, the stress relief that kept her heart open in the long hours of an educator’s life.

Meanwhile, in 1987, Smith released his first of four albums, “Raw and Nasty,” deeply inspired by his move to Las Vegas. Three of its standout tracks — “Love Thang,” “Sweet Gypsy Woman,” and “Heartbreaker” — drew lyrical spirit from Kestin’s writing.

By 1988, Smith had settled in Colorado, carving out a new chapter. There, in the quiet rhythm of the mountains, he began composing relentlessly. He also became fascinated with the emerging frontier of Artificial Intelligence, experimenting with PG Music’s PowerTracks MIDI software and an old Commodore 64. He cataloged and coded five volumes of Kestin’s works but never reached out to her directly.

In 1994, Smith tried once more to reconnect, writing to Broadcast Music, Inc. (BMI) and asking that a letter be forwarded to her. The letter came back unopened — BMI couldn’t forward mail to another member. “I just lost out on keeping in touch with her,” Smith later recalled. “But she was never out of my mind.”

He carried her words with him for twenty-five years — her lyrics like old friends in the back of his mind. The pages vanished and resurfaced through the years, turning up again in 1993, sparking a new creative wave. Around that time, he began collaborating with Jamie Zikowitz, his co-writer and demo vocalist. Together, they recorded “I Just Want to Thank You” and “Never Deny Love.”

Four years later, in July 1997, Smith released “Kenny Baby.” The album featured several of Kestin’s lyrics brought to life — “I Got Your Love,” “Just to Be With You,” “Run to the River,” “Run to Kiss You,” and “Love Thang.”

Then, in 2004, Smith began pairing old tracks with new melodies from his database — musical fragments aligning like planets. Out of this creative storm emerged “One Time Love,” a song stitched from decades of unspoken collaboration. He laughed about how unreal it felt — “like the music had been living in my head, waiting for the words to find it.”

But the story didn’t end there.
In 2005, while sorting through boxes of personal effects, the long-lost Kestin Songbook tumbled out — lyric sheets and CD masters scattering across the floor. “They’d been gone almost a year,” Smith said. “Seeing them again felt like finding treasure.”

He wasted no time. The first two revived tracks — “Roadrunners” and “What About Love” — had debuted earlier on the Rosamond High School 30th Reunion CD (2001). Now, they were remixed for LLK Songbook Volume Four (“Roadrunners”) and LLK Songbook Redux Volume Two (“What About Love”). That second song carried a question that still resonates: When you have it all… what about love?

Smith immersed himself once more, matching lyrics to music as if guided by instinct. “The songs just fit,” he said. “Like butter melting on hot popcorn.”

In late October 2005, Smith finally mailed the first finished CD — “The Linda Lou Kestin Songbook, Volume One” — to an address he hoped was hers. Fourteen songs, wrapped in silence except for a simple card. No message, no explanation. Just the music.

He never waited for confirmation. Instead, he hit the road again — this time to Memphis, where Al Green and Willie Mitchell were recording their first album in over twenty-five years. Smith watched as they worked on the same equipment that had once defined the sound of soul, a moment that would inspire his own track “Come On Honey” on the LLK Songbook Volume One CD.

Soon after, Platinum Sound launched “The Linda Lou Kestin Songbook, Volume One” as an iPod station on iTunes and GarageBand.com, letting a new generation discover the warmth, hope, and humanity in Kestin’s words.

For Smith, producing five full albums of Linda’s lyrics became the defining challenge of his creative life — “very close,” he said, “to Michelangelo painting the Sistine Chapel.”

He smiled as he reflected, “I just looked up, and twenty-five years had gone by.”

Kestin went on to win both national and international songwriting contests twice in her career — proof that true art finds its way home, even if it takes a lifetime to do it.

— InterNetics Magazine, 2005

Vinyl Knights - The Following Is - By Kenneth Howard Smith

 THE FOLLOWING IS…

By Kenneth Howard Smith



By the end of 1977, I had asked Motown for my release. A year passed without a word—no call, no letter, nothing. Then one morning, the envelope arrived. Inside were the release documents, official and final. It was freedom wrapped in paper.

Lee Rogers wasn’t as lucky. Motown extended his contract another two years, but they refused to record him. It was like they wanted to own his silence. Meanwhile, R.G. Ingersoll was still in the Motown family, pushing a young singer named Jill Michaels—an ambitious voice who often helped us with demos. Jill could sing the paint off the walls, and she knew it.

R.G. owed Motown a few more records, so he called Lee into the studio now and then. One session produced a firecracker of a song called “Second Thoughts,” written by Rogers and Ingersoll. Every station that spun it got flooded with calls—it was that good. But when Motown brass discovered Lee Rogers was the artist, interest evaporated overnight. Politics trumped talent again.

By then, I was running Platinum Sound Productions, freshly relocated to downtown Los Angeles. The rent was cheap, and we were free from Motown’s shadow. When Gwen Gordy refused to pick up “Second Thoughts,” R.G. came to me. It was early 1979. Lee’s contract was set to expire in May, and I wanted him to step into the light the moment the clock struck midnight. We pressed 5,000 copies and shipped them to Europe. Radio jumped all over it. We’d proven again that our music had substance—soul with truth behind it.

Motown, still holding the publishing rights, refused to back us. Without their support, the sales fell short. But even then, hope flickered. Visiting Lee in the hospital, as his health worsened, we made a pact—to bring D-Town Records back from the ashes. Those old 45s were still alive in the collectors’ market, fetching $35 a copy. It was time to reclaim our history.

By November 1980, Billboard announced that D-Town Records had officially been reactivated under Platinum Sound. Piracy stopped. We were legitimate again.

Our first new release in fifteen years was “Rocking Skates” backed with “It Must Be Love.” It felt good to hold that vinyl in my hands. Yet radio politics hadn’t changed much—stations refused to play it unless we “paid to get played.” Some European writers even criticized me for drifting from Mike Hanks’ original blues formula. But D-Town was evolving. We were chasing a broader sound—bigger dreams.

For five years, I fought to keep the label alive. We bounced from MCA to Columbia distribution, facing walls at every turn. By 1984, I packed up and moved north to Seattle for a fresh start.

That’s where fate played another song. At a New Year’s Eve concert downtown, I met Bill Miller, the sound engineer for the night’s headliner—Bernadette Bascom. I knew her from her Wonderlove days with Stevie Wonder, where she’d stepped into Deniece Williams’ spot. Bill turned out to be the man behind the Commodores’ hit “I Feel Sanctified.” Funny how life circles back.

Bill told me about Wild Cherry, that white funk band from Cleveland who put “I Feel Sanctified” on the flip side of “Play That Funky Music.” Six million records sold—yet the industry still found ways to overlook the real architects of sound.

Bernadette, meanwhile, had fallen in love with Seattle while touring with People’s Choice—the “Do It Anyway You Wanna” group. She stayed, started recording with Thom Bell, and even did a duet with Elton John on The Thom Bell Sessions. When Stevie Wonder dropped by Seattle and jammed with her live, the city embraced her as their own.

Bill, running his Pac-West label, had already scored with a rock band called Lady. When he met Bernadette, he told her he had a song written just for her—“Seattle Sunshine.” It became the city’s unofficial anthem and even earned adoption by the City Council. The two married soon after, welcoming their daughter, Chokise, the “real rock and roll baby.”

Starting from scratch again, Bill and I built PA systems on his back porch. We printed T-shirts, shot promo photos, and wrote songs. We hired a local group, The Reputations, seasoned bar players who just needed a reason to believe again. Bernadette’s comeback shows packed out Parker Center—lines wrapped around the block in the rain. Her single “I Don’t Want to Lose Your Love” was already gaining traction from Portland to Canada.

We hustled nonstop—booking Good Morning Seattle, releasing a new single every two months, and watching Bernadette’s career soar. Within days of her TV appearance, she was booked solid for the summer, touring with Loverboy, ZZ Top, Ray Charles, Oingo Boingo, and Johnny Winter.

Then came Oliver Cheatham—Bill’s cousin—whose MCA hit “Get Down, It’s Saturday Night” we helped push into the Pacific Northwest top three. But tragedy struck when Al Perkins, Oliver’s manager, was killed. The deal died with him.

By late 1984, I returned to Hollywood and bought a recording studio. D-Town was calling again. Fate introduced me once more to Merrell Fankhauser, who’d been living in Maui. Two German producers had tracked him down to reissue his old music, but he was short a few songs to complete a new album. I offered studio time if he’d let D-Town release it.

That record became “Doctor Fankhauser,” featuring John Cipollina and Jim Murray of Quicksilver Messenger Service. It exploded—#1 on fifty radio stations, over half a million sales, with deals across PolyGram, Virgin, EMI, and Line Records. D-Town had reinvented itself, no longer just a “Black label,” but an artist’s label.

By the late 1980s, after years of pushing every boundary, I put D-Town in mothballs and moved to Denver. Merrell had written a song for me called “Don’t Give Up the Rock,” and maybe that was the point—to rest, not quit.

In 1993, gray creeping in, I started recording again in my condo basement. My wife wasn’t thrilled—music had a way of consuming everything. When my ex-wife Irene found old Purple Olive photos in her Tucson garage, it sparked something. I called Rick, an old bandmate, and we decided to cut a tribute album. The basement gear was old but had history—Toto’s “Africa” and “Rosanna” had both passed through its circuits.

We named the album “Garage Noise.” It fit. Raw, alive, real.

D-Town closed its decade with five singles on Billboard’s Record Picks, outperforming the majors. We had done it—again.

But the music world was shifting. The internet arrived, and MP3s changed everything. Suddenly, artists didn’t need labels. The middlemen were gone. I started building websites, adapting, staying curious.

The Fankhauser-Cassidy Band’s “On The Blue Road” hit 450 radio stations across three continents. Even as numbers dipped, the music found its home.

In truth, D-Town was never just a record label. It was an idea—that artistry, heart, and resilience still mattered in an industry that often forgot both.

And as the years rolled on, even as trends changed and the airwaves filled with digital noise, one thing held true: D-Town Records would never die. It was born from struggle, revived through faith, and carried forward by love—for the music, for the people who made it, and for the dream that never stopped playing.

Vinyl Knights - Maestros Music Please - The D-Town Sound Story - By Kenneth Howard Smith

 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.

Kenneth Howard Smith - ABC RECORDS FOLLIES - From Vinyl Knights

 ABC RECORDS FOLLIES

By Kenneth Howard Smith




When I first moved back to Los Angeles, things were rough. I was broke, hungry, and uncertain—one of those stretches where the city feels both beautiful and merciless. I had landed in Brentwood, close enough to the ocean that I could feel it calling. Venice Beach became my church. Every morning I’d walk the boardwalk, watching the street performers and bodybuilders, listening to the musicians who played for the gulls and the crowd. You could learn more about human rhythm there than in any classroom—every dreamer, drifter, and dropout trying to make something of themselves.

One afternoon, I ran into an old acquaintance from my Three Dog Night days. That single encounter changed everything. He told me to look up Herb Eiselman, the vice president of A&R at ABC Records. Herb was a sharp dresser with a sharper ear. I showed up at his office with little more than a smile and a story, and somehow walked out with a job. Just like that, I was back in the music business.

Herb sent me straight over to ABC Music Publishing to meet two of their writers, Jimmy Holliday and Lee Rogers. Jimmy was the real deal—he’d penned “Put a Little Love in Your Heart” for Jackie DeShannon, a song that had traveled the world. Lee Rogers, though—that was personal history. I remembered him from my boyhood days in Marlin, Texas. In 1965, his single “I Want You to Have Everything” had cracked the Billboard Hot 100 and turned Detroit’s D-Town Records into a serious player. To me, meeting him again in L.A. felt like running into a chapter of my own past that had somehow come to life.

It was 1973, and the music world was shifting fast. Lee’s last hit, “Love Bandit,” had been on Loadstone Records out of San Francisco—home to only two acts: Lee and Sly & the Family Stone. When Loadstone sold Sly’s masters to CBS/Epic, Lee walked away, waiting for a new opportunity. That kind of patience in a restless industry taught me something—timing can be everything, and sometimes doing nothing is the hardest move of all.

Disco was beginning to stir, thumping its way up from the underground. Everyone wanted a dance record, something with flash and fever. So naturally, ABC handed me… “Margaritaville” by Jimmy Buffett—a sleepy country-pop tune about sun, salt, and tequila. Nobody knew who Buffett was. I suspected ABC didn’t know what to do with him either. Still, I hit the road with the record and a trunk full of hope.

With no marketing budget, no press push, and no real support, I hustled. California, Oregon, Washington, Utah—I drove it all. Slept in my car more than once. Learned the fine art of charm at local radio stations and bars. Every DJ I met became a lesson in human nature. Some only wanted perks; others just loved music enough to take a chance on something new. Slowly, the song caught on. Two months later, I got the call from the promotions department: “Come home—the record broke.”

Back in L.A., the ABC roster was heating up with acts like Steely Dan and Lenny Williams—real musicians’ musicians. I had always admired Lenny from his Tower of Power days; that man could sing the truth into any room.

Then came a new discovery—The Floaters, a Detroit group with a smooth single called “Float On” released independently on Fee Records. Leroy Lovett helped bring them to ABC, and I handled some of the promotion out West. That record caught fire—climbing all the way to #2 on the Billboard Hot 100. For a brief moment, it felt like everything I’d worked for had come together.

But the record business has a way of turning the page without warning. Herb Eiselman, the man who’d hired me, left ABC for Motown as their new vice president. His departure closed the door behind me. Once again, I found myself standing outside the machine—no job, no safety net.

Still, there’s a rhythm in those uncertain times, too. Before long, I ran into Lee Rogers again, right there on Sunset Boulevard. He smiled, said he had something brewing at Motown, and that’s how the next chapter began.

Those ABC days taught me that the record business isn’t just about hits—it’s about the people who keep showing up, even when the music stops. Every encounter, every city, every radio booth had a lesson tucked inside it. Perseverance, timing, faith—and the strange magic of being in the right place when the beat finally drops.

Kenneth Howard Smith - IN THE LAND OF MU - From VINYL KNIGHTS BOOK

 

IN THE LAND OF MU

By Kenneth Howard Smith



It’s funny how time just slips away.

Out of the blue, I got a call from Merrell Fankhauser. He wanted me to promote his MU album. Without hesitation, I packed up, hit the highway, and drove the length, width, and girth of California — chasing music, chasing purpose.

The group’s publicist was Audrey P. Franklyn, a powerhouse who handled promotions for Norman Granz’s Pablo Jazz Records, then distributed by RCA. Pablo had the crème de la crème of jazz: Ella Fitzgerald, Joe Williams, Oscar Peterson, Paulinho da Costa — the real royalty of that era. Audrey wasn’t new to success; she also represented several ABC Records artists, including Gloria Lynne, Bobby “Blue” Bland, and B.B. King.

With Audrey’s help, the MU campaign started catching fire. A full-page ad in Billboard didn’t hurt either. Then came the meeting she’d arranged for me with Norman Granz himself — the legendary producer behind those jazz greats.

After the interview, Norman called Audrey and said, “The boy is good. He knows the business. That’s why he won’t be working for me. He needs his own label.”

That moment stuck with me. It was both compliment and challenge.

Meanwhile, FM radio stations across California jumped on the MU album like wildfire. Without hesitation, they pushed it into the mainstream of rock’s new dominion. It was the same year the Patty Hearst tapes were circulating — a time when the country seemed to be unraveling and reinventing itself at once.


Around then, Billy Foster had married Etta James. Their little boy, Donta, was two and a half. Etta would sometimes escape to the desert, to rest her voice and her soul. She’d stay in bed for days, then wander outside for sunshine when she could.

Etta was unstoppable — everything she touched turned to gold. I still remember the first time I heard a standing ovation for a song that was written in my own mother’s bedroom: “I’d Rather Go Blind.” That song carried pain, truth, and redemption, all wrapped in her voice.

Billy and I would often visit Charles Wright of the Watts 103rd Street Rhythm Band, who was working on a new album for ABC Records. Out of all his music, my favorite still is “Apartment Living.” It caught the ache and humor of trying to survive the city — the same story, different rhythm.


When MU released their debut album on RTV Records, a subsidiary of Era Records, the reaction was electric. Era, known for hits like “The Birds and the Bees” by Jewel Akens and “Love Letters from Your Heart” by Ketty Lester, had suddenly stumbled into a rock explosion. FM underground stations were spinning every cut. You couldn’t escape MU; they were a storm in motion.

But that year would mark a turning point.

Merrell, Jeff, and Randy decided to make a pilgrimage to Maui. Their farewell concert was held at the Los Angeles Room in Century City — the same room where Richard Nixon once made history. Next door, Dusty Springfield was performing in the Grand Room.

The place was a madhouse. Over 7,000 people packed into the L.A. Room to see MU. Dusty drew about 3,500. I stood at the door, greeting the crowd, handing out MU buttons and maps. The promoter for Dusty’s show kept coming over, shaking his head.

“Who the hell is this group?” he said. “Man, they’re killing me.”

A few of Merrell’s old friends dropped by that night — Harry Nilsson, Perry Botkin Jr., and Peter Noone. CBS News had cameras rolling. It felt like a movement, not just a concert.

When Merrell, Jeff, and Randy said their final goodbyes, the crowd roared. The next morning, they were gone — off to Maui, chasing new sounds and maybe a little peace.


But my own peace was harder to find.

War had changed me. Coming home was harder than leaving had ever been. I saw how mean people could be to veterans — the same people we thought we’d fought for.

It reminded me of playing football in the old days. When we won, it was we won. When we lost, it was why did you lose? That’s how it felt returning from the war. No welcome, no “we.” Just quiet blame.

I tried explaining what the problem was, but folks laughed it off. I started drinking — not socially, not casually, but with purpose. And the purpose was forgetting.

What hurt most was that I couldn’t name what hurt. I was running from something invisible, something with a body and a breath that burned like hellfire.

Two lives I ruined, and both were trying to love me through it. They were there for me — I wasn’t there for me. I wanted to find that kind, gentle man I’d once been, but I’d left him somewhere in a muddy field in Southeast Asia.

Sometimes I laughed when I saw how my letters were addressed to an APO in Thailand, while I was deep in the hills of Cambodia or Laos. The absurdity of it all — fighting ghosts in places no one believed we were.


When Lynn and I finally crawled back into the so-called real world, tragedy hit again. His wife Sue died suddenly from a brain hemorrhage, leaving him to raise their two children alone. He walked away from music and disappeared into the mountains.

As for me, Irene divorced me. I sank into a valley of nothingness — in and out of hospitals, drifting through weeks and years that didn’t feel like mine.

But then, like before, the music found me again.

It wasn’t a grand return — more like a faint hum at first. A reminder that somewhere inside, life was still possible. The road was still calling.

And time, funny as ever, just kept slipping away.