9 comments on “Steff – Where Did She Go

  1. it would be interesting to know if this was licensed to Epic. It says produced by Buddy Killen and is published by his company (Tree). Buddy I think owned Dial (he did all of that great Joe Tex stuff on it) but I wonder if Steff did his thing in an American studio w/ Killen at the helm.

  2. The one Epic promo Steff 45 I have “Follow the Drums” is a swift Brydsian anti/pro? war riff that I played at Maxwell’s a few times.

    Did not go over too well…but I still dig it.

  3. If Buddy Killen was actually producing the record it would just about have to have been recorded here. It might also explain his charting in the south, i.e. palms getting greased directly…

    PS I just checked and he actually had three 45s on Dial…

    • No payoff needed,I always assumed this great song was recorded in the South,Plus countless great songs got Southern airplay only

  4. It’s a pleasure to have found this site and again hear Steff’s “turntable hit” that scored well in Atlanta and a few other markets. At that time, I was a DJ at WQXI, then, the leading station in ATL. Stephan Sulke was visiting his (deceased) father’s sister in ATL and, through connections at her company, had arranged for Steff to get a “tour” of our station. It so happened that I was the one to greet him. As we talked, I learned of some initial success he had had as a youngster in Europe and he played me some of his new material.

    Buddy Killen was a friend of mine in Nashville, a former “bull fiddle” player on the “Grand Ole Opry” that Jack Stapp had hired to work his growing music catalog at his publishing firm — Tree. He also was a talented writer himself, and was involved in the early success of many artists that recorded in Nashville, including Roger Miller, whose songs Tree published. (It’s Buddy’s fingers you hear snapping on “King of the Road”). I phoned Buddy and asked him to call the “A” players for a session which we did at the Columbia studios. A day later I got an urgent call from Buddy saying that Billy Sherrill (Nashville A&R Director) for Epic wanted them. I transferred the rights to Epic for the $3,500 the session had cost me on the promise they would work the records. I personally purchased a full page ad in BILLBOARD and Epic gave Steff shared space on several ads they ran for a few weeks.

    Steff returned for a second session at Epic with Billy and Buddy but, when there
    was no further build-up on the initial excitement of “Where Did She Go”, they did not release any further cuts (and there were at least a couple of great ones in the can).

    Had Steff stayed in the states for a while, I’m confident he would have made it here but he determined to build his own studio in Switzerland from which he developed several great records for the European markets and, to this day, is still doing well.

    He had sent me several sides cut in Switzerland which we placed on DIAL (the early note is correct that Buddy had developed Dial and a distributiion deal through Atlantic for Joe Tex, with whom he generated many hits. FOREVER by the Little Dippers was also Buddy’s — he wrote and recorded it at the end of another session when there was still time on the session clock to have the background singers do it. “Sugar
    Lips” by Al Hurt was also his composition. Unfortunately, he died fairly quickly from a pancreatic cancer diagnosis a couple of years ago.

    ‘hope this helps. Cordially, /s/ Sam Hale

    P.S. As to the Dial record’s charting in Louisville — Terrell Metheny (Mitch Michael) was PD and a dear friend. We had worked together in Nashville and ATL, and later in Milwaukee. /sh

  5. Pingback: Asylum Choir – Welcome To Hollywood « Iron Leg

  6. Great post. Thanks for all the info. I found it telling that this was a turntable hit in Atlanta. I knew it had bubbled under nationally (#124 in Jan. 1966). But R.E.M’s “Radio Free Europe” always reminded me of this song. Since they hail from Georgia, I wonder if they were fans of this record?

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