No announcement yet.

Mike morton congregation

  • Filter
  • Time
  • Show
Clear All
new posts

  • #16
    maybe or maybe not

    Originally posted by Col Wolfe View Post
    the single shows the artist as Combination, not Congregation
    yes single does but film credits state congregation i think he changed names so many times he didn't know who he was
    yes single does but film credits say congregation he changed names somany times he didn't know who he was


    • #17
      Originally posted by upandatem View Post
      yes single does but film credits say congregation he changed names somany times he didn't know who he was
      he was Mike Morton
      new SPOKE release: >>> SEE HERE <<< RKM LIBRARY BEATS


      • #18
        This article from Music Now of July 25th 1970 makes it clear that music was Mike's second priority, after dry-cleaning:

        'Mike Morton has an unusual angle on pop music. At 33 years of age he is hardly the prototype teenybopper idol, yet each week he plays live to more than 5,000 kids and reaches many thousands more through Radio One appearances. Though things have certainly declined since the days when tea-time dances drew 1,000 dancers to the Lyceum, the ballroom still remains an important factor in influencing the record-buying habits of teenagers. Mike and his group, the Mike Morton Sound, have been resident at the Orchid, Purley - one of the biggest dance venues in the country - for years, and now the affable guitarist has embarked on a new venture which could help change the face of pop.

        Travel down Clapham High Street in South London and, opposite the British Transport Museum, you’ll spot a garish former cinema now known as the Majestic Bingo Hall. It's just one of Mike ’s business ventures, along with a chain of dry-cleaning shops, and this unlikely spot could rapidly become a haven for pop stars. Explains Mike: “About nine months ago I made a record called ‘Suzanne’ for Plexium Records. I’d done plenty of TV and radio recordings before, but it was my first time in a pukka studio. I thought we’d take about three hours to make the record, but in the end it took 12. When I got the bills in I was staggered. I began to think that there must be a market in the recording studio business for people who have potential but can’t pay the ridiculous charges of West End Studios, and the germ of an idea took root.”

        Now, in an amazingly short time, Mike has transformed the upper circle of the Majestic into one of the most modern, largest and best-equipped studios in the country. Out have come the seats and the Edwardian decor, and in have gone sound booths, soundproof walls, one of the most luxurious control rooms around, and ultra-sophisticated eight-track recording facilities, all in a setting of plush wall-to-wall carpeting, soft lights and lavish drapes. More than a mile of cable alone has been used, and in excess of £50,000 spent already. “We can offer facilities beyond compare, including a spacious licensed bar, and yet I’ve deliberately kept our charges down to a mere £14 an hour flat rate - less than half what most studios are charging. Groups can even hire a Lowrey organ for use on their sessions, and we’ve got first-rate engineers. I believe there is a real demand for a modestly-priced studio, providing there is nothing modest or second-rate about the quality it provides.”

        Mike knows the graft of trying to break through. He started playing guitar at 17 and, after a summer season on the Isle of Wight, formed a trio called the Blue Notes which toured with people like Petula Clark and the Platters. He joined Mecca in the early 60s, then left for a spell with Bob Miller & the Millermen, and was a regular member of the studio bands on the pioneering TV pop shows Six Five Special, Drumbeat and Dig This. “I had a fantastic year when I was with Drumbeat. I was earning £100 a week, which was an enormous sum in those days. I saved hard, borrowed a lot more from the bank, and opened a chain of dry-cleaning shops. Then Cyril Stapleton found an old cinema in Chertsey which he thought would make a good bingo hall. Cyril asked me to come in with him. Several others were going to put in money, but everyone pulled out because their advisors said it wasn’t viable, so in the end I went into it on my own. Then, two years ago, I bought the Majestic.”

        In between times, Mike has worked on the Continent for a year, then rejoined Mecca as resident at the Orchid. “We play the current chart things plus the pop standards, and I’d be bold enough to say that it’s the best group in the country for out-and-out entertainment. We aren’t strictly a pop outfit, because we have to serve a wider purpose, but we are rather unique because it’s an 11-piece and eight of them sing!” Many of Mike’s singers find extra employment recording cover versions of pop hits for labels like Music For Pleasure and Marble Arch, and Mike sees this as one outlet for his studios: “Since we play all these things onstage and on Radio One, I could take the whole band into my studio and cut cover version LPs by the dozen.” But perhaps the most exciting prospect of the Majestic is its potential for onstage recordings: “The hall holds 1000. We could put on big-time concerts and pipe the sound straight through to the studio and get an unequalled sound. The things against live recordings at the moment are the cost and technical problems of shifting complicated and bulky recording equipment around the country - there will not be any such problem here.”'
        Must grade overall visually at least as Good minus!!! (graded STRICTLY to the UK RRPG standards, not overgraded AT ALL!!!)


        • #19
          Thanks for adding that. This is the thread that keeps on giving.
          Ironically I think I dumped the record somewhere along the way.
          Enthusiastic vagueness passes for scholarship in the twilight world of the disc-jockey.

          John Peel