The "REAL" and The "ORIGINAL" D-TOWN RECORDS of DETROIT
In the 1960’s as the white hot smoking Motown Record machine smashed its way across the radio charts, many records were recorded in Detroit during this time with many of these precious gems with the same musicians, fell still born from the presses with the exception of a few artists that managed to hit the trade papers top 100 list.
One artist failed at fitting the Motown Records mold, was the Prince of Detroit, Lee Rogers (Craton). Kenneth Howard Smith has penned a filming manuscript about Lee Rogers entitled; “Vinyl Knights: The Other Side of The Motor City Tracks”, the stories of two different music kingdoms that came from the same seed of one Carmen C. Murphy. However, the gateway to the hits was between a core of musicians that played on every recording in the city. With the right amount of money, you could get that “magic sound” and Jamie Jameson was one of the main leaders for the Sound of Young America. Digital downloads are available from cdbaby.com.
On November 8, 1980, Platinum Sound Productions announced to the world that it was re-activating D-Town Records and Billboard Magazine did let everyone know what was going on. The only reason that Lee Rogers Craton and Kenneth Howard Smith decided to re-activate D-Town, was because, Rogers’ recordings were being ‘bootlegged’ with brand new copies of his records from a company that had closed it’s doors in 1969. After several attorneys and state-to-state inquiries, it was decided to bring D-Town back to the national music scene. “It Must Be Love” b/w “Rockin’ Skates” by Lee Rogers on D-Town Records; penned by Linda Lou Kestin pushed its way into the history books.
Michael Anthony Hanks’ legacy as one of Detroit’s most productive songwriters and music publishers that charted many times; rivaled that of Motown’s Jobete Music Publishing arm. Sometime back in 1966, the Board of Directors of D-Town Records; consisting of Roosevelt Grier, Roger Brown, Pete Hall and Martha Jean LaQueen; decided to vote Hanks out of D-Town Records and he left with the Fabulous Peps (Undisputed Truth) and his Soul Records label to Motown.
Legally and Technically, Hanks left all of his works (the manufactured records; as property and legacy to D-Town Records). He was still entitled to all of his royalties for mechanical manufacturing and any media transfer in the future as the publisher of the most popular songs that drove the company. As Lee Rogers Craton was the first artist and had a hand in creating one of Detroit’s Icons; and a vice president of D-Town Records, it was obvious to us, that by reactivating the label and re-signing Rogers back to D-Town thus taking control of re-manufacturing rights.
Rogers did arrange with Ms. Stephanie Hanks-Smith, San Diego, CA. and daughter of Mike Hanks and the executive of The Michael Anthony Hanks- MAH’s Music Publishing Trust, did insist that The Hanks Family could retain all of the rights to the D-Town Records Catalog, as long as they did not include any of Lee Rogers Craton recordings, likeness or imprints with his name; that this property belonged to his son, Anthony (Tony) Craton of Jantony Productions in Detroit.
The MAH’s Music Publishing Trust granted rights to two (2) with possibly six (6) released CD’s worldwide; including “The Magic Of Detroit” and “Dancin’ In D-Town” that contained several performances of Lee Rogers on each CD, and has breached the agreement made by the Hanks Organization in 1979, at the Motown Records Hollywood Offices.
Because of the breach of contract, SDC OmniMedia Group, the parent company of Platinum Sound Productions, D-Town Records and Keristene Music (BMI), and the remaining partner, Kenneth Howard Smith, announces the release “Boss Love: The United Kingdom Collection” by Lee Rogers for D-Town Records 26 years re-activation party and for Lee’s Birthday.
*** A STRONG SUPPORTER OF D-TOWN from late 70's to the 90's ***
Ms. Kay Saunders-Palmer, the lady born in Philadelphia and came to Hollywood in the early 1950's as a recording artist for Capitol Records. The day started out ok. She was a little ill, but she was going to "suck-it uo" and lay down the recording. As she started with the second vocal part, Kay was suddenly on the floor of the studio and ill with a bad kidney and off to the hospital she went, where she was in-bed for over a month. There were three backup singers in the session also, one by the name of Margaret Whiting who went on to finish the session and found herself months later on the top of the Pop Charts with the song that Kay had started.
Not to be lost on the music scene, Kay did recover and later found a job at a new company that handled artists. She was the first secretary, agent and publicist for this up and coming company called Associated Booking Corporation. The company was started on a handshake between Joe Glaser, who owned Associated Booking Corporation and Louis Armstrong sometime back in 1940's. Glazer decided to open a second office in Hollywood/Beverly Hills and kay was his first employee. Kay is credited for designing the first "Artist Press-Kit" for Duke Ellington which became the stanard for the business.
In addition there are “press kits” developed by Associated Booking Corporation publicizing the Orchestra’s performance. These kits often include brief instructions and suggestions for advertising; photographs; punch lines; lists of famous songs and recordings; brief histories of the band, its musicians, and its peak performances; and short essays about Ellington and his contributions to music and society. The records document various publicity formats used by the Ellington organization to advertise domestic and foreign performances and recordings of the Duke Ellington Orchestra between 1935 and 1974.
We called her "Mama Kay". because she new the entertainment industry better than anyone. She could have ran any of the motion picture studios or even the recording business. Kay's many gentlemen callers included Lee J.Cobb, U.S. Ambassodor John Gavin, Little Richard and Louie Bellson to name a very few.
Mama Kay had power, and she put together many deals for Frank Sinatra, Bob Hope, Shirely Bassey, and lots of unknown artist. Kay's influence stretched all over the world. Kay also produced several album including the Merrell Fankhauser "Dr. Fankhauser" album; including during "voice-overs' for many films. Kay even produced several motion pictures in her lifetime.
Truly a genious in the entertainment industry -- Kay Saunders-Palmer, a legend in Hollywood.
We will Love you Always Mama Kay
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