Rem Records Detroit

[Premium Stuff]

Hi all

Interested in REM Records out of Detroit

My fave on the label is Sandy & Sty-letts - I've Got Two Loves

Interested in any background info please like address, owner, discog etc.

Just realised, I'm not even sure if it is REM or R.E.M. (acronym)

All interesting nuggets much appreciated

Cheers

Richard

Edited November 13, 2012 by Premium Stuff

[Tony Smith]

Wasn't it owned by Dorothy Pierce?, Pillar, Zebra sister labels possibly Hi-Lite too?

[Robbk]

Yes, Dorothy Pierce owned REM and Pillar Records (as sole owner, I believe). I believe she was a co-owner in Hi-Lite Records. She was the A&R person snd main producer in all 3 labels.

[Robbk]

Wasn't it owned by Dorothy Pierce?, Pillar, Zebra sister labels possibly Hi-Lite too?

I thought that Zebra Records was owned by The Wilson brothers (Hank and Dusty). Dusty Wilson was their main artist. I never saw any reference to Dorothy Pierce or anyone from Hi-Lite, REM or Pillar Records on a Zebra Record. I thought that Zebra and Bronse Records were sister labels.

By the way...I just found an old thread on Soulful Detroit Forum, in which I noted that I was told by someone in the know (perhaps Ron Murphy?) that Dorothy Pierce was an old lady whose name was used as a subterfuge for the real owner and operator of those 3 labels, but who wanted to remain anonymous. He was told dby someone at those labels that Dorothy Pierce never wrote a song, nor ran a recording session. This is only second hand "rumour". But it came from a well-respected source, who had been an insider in the business in Detroit throughout the '60s and had been around (as a teenager) during the '50s. So, I believe that it may well be true. i can't remember now for whom Pierce was supposed to have fronted. I was told this yearsago (perhaps near the end of the 1960s?).

[Tony Smith]

Hi Rob,

Thanks for clearing that up, not sure where I got Zebra from, sometimes a bit of mis-information get lodged in!

Also was Raldo (Dawnbreakers-She'll Meet Her Match) affiliated to Hi-Lite?

Edited November 16, 2012 by Tony Smith

[Premium Stuff]

I thought that Zebra and Bronse Records were sister labels.

Thanks for the info guys.

Dusty Wilson's release on Bronse is published by 'Zebra'.

Cheers

Richard

[Premium Stuff]

So is it REM (one word) or R.E.M. (acronym)?   

 

And what does it mean? 

 

Cheers

 

Richard

[Dazz]

So is it REM (one word) or R.E.M. (acronym)?   

 

And what does it mean? 

 

Cheers

 

Richard

Hi Richard

If it's the one that the very rare Gwen Owens track is on it's definately  REM Records

Cheers

Dazz

[Premium Stuff]

Hi Richard

If it's the one that the very rare Gwen Owens track is on it's definately  REM Records

Cheers

Dazz

 

Hi Dazz

 

Thanks! 

 

Yes, it's the Gwen Owens label.

 

Anyone know the origin of the name please?

 

Cheers

 

Richard

[Chalky]

How many releases on the label?  R&B Indies has 4 with one missing number?  

 

101 Sandy & The Sty-Letts - I've Got Two Lovers/Wishing Star

 

102 ?

 

103 Tommy Frontera - After Tonite/How To Love Him

 

104 The Joe Scmidt Trio - Lonesome One/Cry Our Freedom

 

105 The Impacs       - Mystery Of Love/Someone To Love

 (Gwen Owens)    

 

Where did the Impacs come from?

 

Edited July 7, 2013 by chalky

[Robbk]

How many releases on the label?  R&B Indies has 4 with one missing number?  

 

101 Sandy & The Sty-Letts - I've Got Two Lovers/Wishing Star

 

102 ?

 

103 Tommy Frontera - After Tonite/How To Love Him

 

104 The Joe Scmidt Trio - Lonesome One/Cry Our Freedom

 

105 The Impacs       - Mystery Of Love/Someone To Love

 (Gwen Owens)    

 

Where did the Impacs come from?

 

2681923.jpg

I've only seen the Gwen Owens release on 105.  I've never heard of The Impacs on 105.  Perhaps they were her uncredited back-up group on her 2 cuts.  The Impacs certainly have a connection to Gwen owns, as they both worked for some of the same producers.  I've never seen 102.

 

The scientific use of the acronym R.E.M., stands for "Rapid Eye Movement", which is tested when people are asleep, related to dreaming.  I suspect that this record label's REM stands for three people involved with the label.  The "M" might stand for Meehan.  But I haven't the foggiest idea what "R" and "E" might represent.  I'm not with my records now, and so, cannot check Raldo's label credits and music publisher to see if there's any connection to Hi-Lite/Rem/Pillar.  But, I believe that I remember NOT filing Raldo next to the Hi-Lite labels.  So, I'd guess, in absence of any evidence, that they were not related.

 

What is your reason for considering a possible relationship between those labels?  Have you seen evidence of a possible connection?

[Chalky]

I've only seen the Gwen Owens release on 105.  I've never heard of The Impacs on 105.  Perhaps they were her uncredited back-up group on her 2 cuts.  The Impacs certainly have a connection to Gwen owns, as they both worked for some of the same producers.  I've never seen 102.

 

 

I'd never seen the Impacs before either and wondered how he got that info?

[Dazz]

I'd never seen the Impacs before either and wondered how he got that info?

Hi Chalky

 

The Impacs is the instrumental b'side of the Gwen Owens tune on 105

 

Cheers

Dazz

[Chalky]

Hi Chalky

 

The Impacs is the instrumental b'side of the Gwen Owens tune on 105

 

Cheers

Dazz

 

Cheers for that honestly couldn't remember the other side.

[Robbk]

I know that Sam Motley was a producer on Raldo Records.  He was often the one who financed records he produced.  So, I am thinking that maybe Motley co-owned Raldo Records, with a Michigander businessman named Raldo.  There were a few families in The Detroit area with the Italian surname, Raldo, from the 1920s through 1960s.  I didn't see any connection between names on the two Raldo records I've seen and any of the Hi-lite related labels.

[Robbk]

Cheers for that honestly couldn't remember the other side.

I had also forgotten that The Impacs were on the flip.

[Premium Stuff]

How many releases on the label?  R&B Indies has 4 with one missing number?  

 

101 Sandy & The Sty-Letts - I've Got Two Lovers/Wishing Star

 

102 ?

 

103 Tommy Frontera - After Tonite/How To Love Him

 

104 The Joe Scmidt Trio - Lonesome One/Cry Our Freedom

 

105 The Impacs       - Mystery Of Love/Someone To Love

 (Gwen Owens)    

 

Where did the Impacs come from?

 

2681923.jpg

 

Yes - Impacs is the instrumental flip to Gwen Owens.

 

There's also this one:

 

Frank Kinsel - Frankie She Don't Love You/ Have Faith In Me (REM #106)    

 

 

Cheers

 

Richard

[Robbk]

Yes - Impacs is the instrumental flip to Gwen Owens.

 

There's also this one:

 

Frank Kinsel - Frankie She Don't Love You/ Have Faith In Me (REM #106)    

 

 

Cheers

 

Richard

Wow!  That's very interesting!  I'd LOVE to hear that!  Never heard of it.  Love to see a label scan, as well.

[Robbk]

The Frank Kinsel is Caucasian "teen Rock & Roll".  Here's a link to the label scan:

 

https://collectorsfrenzy.com/details/120848526581/Rare_Rockin_TEEN_RR_FRANK_KINSEL_Frankie_She_Dont_Love_You_REM_106_Listen

[Premium Stuff]

The Frank Kinsel is Caucasian "teen Rock & Roll".  Here's a link to the label scan:

 

https://collectorsfrenzy.com/details/120848526581/Rare_Rockin_TEEN_RR_FRANK_KINSEL_Frankie_She_Dont_Love_You_REM_106_Listen

 

I'm pretty sure I have a copy of this.

[Robbk]

Here's the scan of REM 106:

 

[Robbk]

Nothing on The Dawnbreakers indicating a link to Hi-Lite/REM.

[Robbk]

I know that Sam Motley was a producer on Raldo Records.  He was often the one who financed records he produced.  So, I am thinking that maybe Motley co-owned Raldo Records, with a Michigander businessman named Raldo.  There were a few families in The Detroit area with the Italian surname, Raldo, from the 1920s through 1960s.  I didn't see any connection between names on the two Raldo records I've seen and any of the Hi-lite related labels.

I have forgotten that there was a record by The Elites on Raldo(I'm pretty sure I have it-but can't check now, because I'm not with my Detroit 45s.  Apparently, the Elites having releases both on REM and Raldo caused the question of relationship between the two labels.

[Robbk]

Does anyone have any other Raldo records, so we can find out if there are any connections to Hi-Lite/REM/Pillar?

[Premium Stuff]

I have forgotten that there was a record by The Elites on Raldo(I'm pretty sure I have it-but can't check now, because I'm not with my Detroit 45s.  Apparently, the Elites having releases both on REM and Raldo caused the question of relationship between the two labels.

 

Robb - what is the Elites on REM? Do you mean Raldo and Hi-Lite?

 

Cheers

 

Richard

[Premium Stuff]

On the connections between REM and HI-Lite these are pretty clear. For instance:

 

• Hildale Music Co. - widely appears as the publishing company on on REM and Hi-Lite labels.
• Dorothy Pierce is the writer on several - e.g. REM #101 Sandy & Sty-letts and Hi-Lite #106 Elites.
• Meehan appears as producer on REM #105 Gwen Owens and as writer Pat Meehan on Tommy Frontera "Dry Your Eyes" (un-numbered) on Hi-Lite

 

From what I can find the only connection that Raldo had with REM/Hi-Lite is that the numbering system printed on the label is prefixed with the hash symbol #   

 

Cheers

 

Richard

Edited July 12, 2013 by Premium Stuff

[Robbk]

Robb - what is the Elites on REM? Do you mean Raldo and Hi-Lite?

 

Cheers

 

Richard

Sorry!  I meant Elites on Hi-Lite, rather than REM.

[Robbk]

 

On the connections between REM and HI-Lite these are pretty clear. For instance:

 

• Hildale Music Co. - widely appears as the publishing company on on REM and Hi-Lite labels.
• Dorothy Pierce is the writer on several - e.g. REM #101 Sandy & Sty-letts and Hi-Lite #106 Elites.
• Meehan appears as producer on REM #105 Gwen Owens and as writer Pat Meehan on Tommy Frontera "Dry Your Eyes" (un-numbered) on Hi-Lite

 

From what I can find the only connection that Raldo had with REM/Hi-Lite is that the numbering system printed on the label is prefixed with the hash symbol #   

 

Cheers

 

Richard

 

Hildale Music was the publisher of Dorothy Pierce's (man she fronted) labels (Hi-Lite/REM/Pillar).  As far as I know, Raldo never released a Hildale song.  The Elites appearing on Hi-Lite and Raldo, and Pat Meehan appearing on both, are  the only real connections.  But Meehan was a free-lance songwriter, so that is a tenuous connection. 

 

From what we have so far, I'd guess that Raldo had a different owner and chief producer from that of the Hildale labels.  I don't think they were any more connected than any other 2 Detroit record companies during 1962-64.

[Weingarden]

How many releases on the label?  R&B Indies has 4 with one missing number?  

 

101 Sandy & The Sty-Letts - I've Got Two Lovers/Wishing Star

 

102 ?

 

103 Tommy Frontera - After Tonite/How To Love Him

 

104 The Joe Scmidt Trio - Lonesome One/Cry Our Freedom

 

105 The Impacs       - Mystery Of Love/Someone To Love

 (Gwen Owens)    

 

Where did the Impacs come from?

 

2681923.jpg

 

Just saw a copy of REM 102, which I'd seen before and passed up (as I did this time...it's not so good):

 

Little Abee C. - The Fern/Hey Little Girl

[Robbk]

Here's a scan of REM 102:

 

Here's a link to the ballad side("Hey little Girl"):

 

 

It's a Caucasian group singing a poor attempt at a Doo Wop ballad.  "The Fern" is likely a very silly dance step.  I'd be afraid to even listen to that side.  Its ZTSC # 90,000 shows that it was pressed at Columbia Terre Haute and likely mastered at Columbia Chicago in spring of 1964.

Edited August 9, 2013 by RobbK

[G F]

On 12/07/2013 at 22:24, Premium Stuff said:

 

Robb - what is the Elites on REM? Do you mean Raldo and Hi-Lite?

 

Cheers

 

Richard

REM are the initials of Richard E Medinas, who was one of the financial backers.

The label is a sister to Oncore and the main guy was Patrick Meehan.

Hi-Lite was Pat's first label and he was initially in the Seminoles before getting drafted. His uncle managed the label for a while during his military service. 

Pat also had a label called Sunday - it released a Frank Kinsell 45. 

Pat and Richard were both real estate guys - and white.

The Impacs were the session musicians on the Gwen Owens' recordings, and were called The Fabulous Impacs on the Bomb 45 (owned by Bill “Preston” Carnes). The group later became Black Murder and recorded 'Foxy Lady' that Gino Washington released (credited to The Soul Agents) on his ATAC label - without their knowledge. 

[G F]

On 16/11/2012 at 17:21, Tony Smith said:

Hi Rob,

 

Thanks for clearing that up, not sure where I got Zebra from, sometimes a bit of mis-information get lodged in!

 

Also was Raldo (Dawnbreakers-She'll Meet Her Match) affiliated to Hi-Lite?

Raldo was one of Sam Motley's labels and funded by a guy (Gerald) Sam knew. It was named after Gerald's two children.

 I only know of two releases on Raldo: The Dawnbreakers, and Big Bubbles (a drummer). I want a good scan of the Dawnbreakers disc (She'll Meet Her Match) for a project I'm working on.

[Kenb]

i thought someone had established that Dorothy Pierce was 'something to do with' HDH? or was that me speculating!

[G F]

Dorothy Pierce owned the Pillar label.

Barbara Mercer (later at Golden World etc) was one on the Sty-letts.

Dorothy's daughter was married to Brian Holland and any songs that bear the name 'D Pierce' were actually penned by Brian, who was obviously under contract at Motown.

[Robbk]

1 minute ago, Kenb said:

i thought someone had established that Dorothy Pierce was 'something to do with' HDH? or was that me speculating!

Dorothy Pierce is the name of Brian Holland's mother-in-law.  I've been told by several people that Brian and Eddie Holland (and by several others that H-D-H) used that name to cover the fact that they were moonlighting from Motown back then (1962-63).  I've never seen any proof of that.  But, it would be quite a coincidence for another woman to have had that same name, been an R&B/Soul songwriter and producer in Detroit.  I find it interesting because Robert Bateman told the story that he quit Motown in Spring 1962, because Brian and Eddie told him that they were going to jump from Motown to Wilbur Golden's new Correc-Tone Records, and told him they were offered big salaries, and so he decided to go with them, and told Berry he was going to quit if he wouldn't match Golden's offer.  Gordy told him he wouldn't match it, so Bateman left.  Soon after, he found out that Gordy bought new Cadillacs for Brian and Eddie, and gave them large regular salaries to stay, but it was too late for Bateman to undo his quitting.  So, it would be very interesting (and strange) that Brian and Eddie would accept Berry's offer for them to stay, and they would NOT jump over to Correc-Tone, and yet, they would moonlight with Hi-Lite/Rem/Pillar.  And it is also interesting that Janie Bradford (at that time, still one of the main songwriters at Motown) would moonlight writing songs for Golden's Correc-Tone.  Why would they accept Gordy's raises and decent amount of regular pay, and then do what they had planned with Golden, but with someone else???  I guess they thought Berry would never find out,- but if they worked for Golden, he'd have been looking for that, so they'd get caught.  It's all very weird.

[G F]

Robert Bateman told me it was Mickey Stephenson who got him to quit Motown - he never mentioned the Holland brothers.

Robert felt strongly that Mickey wanted him out the way so as to cement his own position at Motown.

Mr Golden told me that Mickey had been involved at Correc-tone in the early days and had written a song while there called 'Old Southern Beat' that became 'Dancing In The Street'. 

Mr Golden never mentioned the Holland brothers being involved in any way at Correc-tone, but did tell me that one of them nearly joined him before going to Motown. (I'd have to play that interview recording to confirm which one, but it was likely Brian).

Remember that blood is thicker than water. 

[Kenb]

55 minutes ago, G F said:

Dorothy Pierce owned the Pillar label.

Barbara Mercer (later at Golden World etc) was one on the Sty-letts.

Dorothy's daughter was married to Brian Holland and any songs that bear the name 'D Pierce' were actually penned by Brian, who was obviously under contract at Motown.

Barbara Mercer (Sty-Letts/Sty-Leets) yes...if you listen to b-side  “Hello My Darling” Pillar 505, 1962 you’ll hear the lyric line at 32-37 secs in “ Hello my darling this is Barbara calling”.

[Robbk]

5 hours ago, G F said:

Robert Bateman told me it was Mickey Stephenson who got him to quit Motown - he never mentioned the Holland brothers.

Robert felt strongly that Mickey wanted him out the way so as to cement his own position at Motown.

Mr Golden told me that Mickey had been involved at Correc-tone in the early days and had written a song while there called 'Old Southern Beat' that became 'Dancing In The Street'. 

Mr Golden never mentioned the Holland brothers being involved in any way at Correc-tone, but did tell me that one of them nearly joined him before going to Motown. (I'd have to play that interview recording to confirm which one, but it was likely Brian).

Remember that blood is thicker than water. 

A lot at Motown was going on in 1962.  Several Motown people were disgruntled that Berry was "handling" the money of the young singers, others wanted to have more freedom and responsibility in their production jobs, more credit, and better pay, or substantial regular salaries.  Popcorn Wylie also jumped to Correc-Tone, and Freddie Gorman almost did.  Robert Bateman told the story in different ways many years later, and clearly, he came from a different angle, or people misunderstood him, adding assumptions of their own, or his memory of what went down had become clouded.  And Dorothy Pierce had one or two songwriting credits on Thelma Records in late 1963-early 1964 (Orthea Barnes' single was one of them).  Was Brian actually still moonlighting that late?

 

[Robbk]

On 07/08/2021 at 01:41, G F said:

Raldo was one of Sam Motley's labels and funded by a guy (Gerald) Sam knew. It was named after Gerald's two children.

 I only know of two releases on Raldo: The Dawnbreakers, and Big Bubbles (a drummer). I want a good scan of the Dawnbreakers disc (She'll Meet Her Match) for a project I'm working on.

I've seen a couple more Raldos, and I think I have one of them, along with The Dawnbreakers. So, Gerald's kids were Ralph and Doris?  I'm pretty sure the other Raldo was The Elites.  They were also on Pat Meehan's Hi-Lite Records.  Patti Gilsen, who sang the great 2-sider Motownish "Don't You Tell A Lie/"Pulling Petals From A Daisy" for Ed Wingate and JoAnn Bratton at Golden World, was their lead singer.

 

Edited August 9, 2021 by Robbk

[Kenb]

10 hours ago, G F said:

Raldo was one of Sam Motley's labels and funded by a guy (Gerald) Sam knew. It was named after Gerald's two children.

 I only know of two releases on Raldo: The Dawnbreakers, and Big Bubbles (a drummer). I want a good scan of the Dawnbreakers disc (She'll Meet Her Match) for a project I'm working on.

Big Bubbles - Floyd McVay

[Robbk]

10 hours ago, G F said:

Robert Bateman told me it was Mickey Stephenson who got him to quit Motown - he never mentioned the Holland brothers.

Robert felt strongly that Mickey wanted him out the way so as to cement his own position at Motown.

Mr Golden told me that Mickey had been involved at Correc-tone in the early days and had written a song while there called 'Old Southern Beat' that became 'Dancing In The Street'. 

Mr Golden never mentioned the Holland brothers being involved in any way at Correc-tone, but did tell me that one of them nearly joined him before going to Motown. (I'd have to play that interview recording to confirm which one, but it was likely Brian).

Remember that blood is thicker than water. 

This makes no sense, because both Brian and Eddie were with Berry Gordy before Tamla even started, recording for him with Robert West's Kudo Records, and Mercury in 1958, and singing for him in The RayBer Voices before Tamla on his House of Beauty cuts with Herman Griffin.  Golden didn't start Correc-Tone until early 1962.  Both Brian and Eddie were with Tamla in 1959.  EVEN if you count Eddie being with UA (as NOT being with Motown- ALL of his UA cuts were produced at Motown), Eddie returned to Motown in early-to-mid 1961, - long before Golden started up Correc-Tone.

[Robbk]

16 hours ago, G F said:

Raldo was one of Sam Motley's labels and funded by a guy (Gerald) Sam knew. It was named after Gerald's two children.

 I only know of two releases on Raldo: The Dawnbreakers, and Big Bubbles (a drummer).

 

 

I made a 300 dpi scan for you, which I will provide you in a PM (if that size will be allowed to fit).  If not, PM me your E-mail address, and I'll mail it to you.  Interesting that our old friend from Soulful Detroit Forum, Kris Peterson, wrote that song.

Edited August 8, 2021 by Robbk

[G F]

Great, Robb... thanks very much! 

[G F]

3 hours ago, Robbk said:

This makes no sense, because both Brian and Eddie were with Berry Gordy before Tamla even started, recording for him with Robert West's Kudo Records, and Mercury in 1958, and singing for him in The RayBer Voices before Tamla on his House of Beauty cuts with Herman Griffin.  Golden didn't start Correc-Tone until early 1962.  Both Brian and Eddie were with Tamla in 1959.  EVEN if you count Eddie being with UA (as NOT being with Motown- ALL of his UA cuts were produced at Motown), Eddie returned to Motown in early-to-mid 1961, - long before Golden started up Correc-Tone.

Lots of things don't make sense after the event. I'm just relaying what I was told by people who were there. 

When I asked Sonny Sanders about him joining Correc-tone, he said he had quit Motown. I told him that didn't seem quite right due to the recording of 'Jamie' - which he did the string arrangement for - and the first 45s on Correc-tone. There was clearly an overlap, but he seemed to be offended and was adamant he didn't work at both at the same time. That didn't make sense to me.

[G F]

7 hours ago, Kenb said:

Big Bubbles - Floyd McVay

Thanks!... Sam said he was a 'fat dude'.

[Robbk]

1 hour ago, G F said:

Lots of things don't make sense after the event. I'm just relaying what I was told by people who were there. 

When I asked Sonny Sanders about him joining Correc-tone, he said he had quit Motown. I told him that didn't seem quite right due to the recording of 'Jamie' - which he did the string arrangement for - and the first 45s on Correc-tone. There was clearly an overlap, but he seemed to be offended and was adamant he didn't work at both at the same time. That didn't make sense to me.

It seems to me that Sonny remembered correctly.  "Jamie" was recorded in late 1961.  Robert Bateman didn't even  get Correc-Tone's recording studio set up until late February or March 1962.  As far as I remember, Wilson Pickett's "Let Me Be Your Boy" was their first recording in early spring 1962, well after Sanders and Bateman had left Motown.

[The Yank]

I agree- according to the Don't Forget The Motor City website, "Jamie" was recorded on October 20, 1961. And according to the liner notes of "The Satintones Sing", the group's last Motown session was Ocotober 18, 1961. 

[G F]

Yes.. I was just going from memory in that interview and thought Jamie was a 1962 release. No wonder Sonny was adamant!

Regarding Raldo (Robb and others)... If there are more than two 45s on the label, I would love to know about them. 

Regarding Pat Meehan... he was also the backer of Power House records in the early 1970s. Johnny Powers did the studio work, but Pat financed the recordings.

I have four Power House releases listed - 1003, 1009, 1011 and 1015. Are there any others that people know about?

Does anyone know the flip to Tommy Diamond's "I Think Somebody Loves Me"? (PH 1003)

I have a (1979) 12" Westbound disc by Sonny Monroe -"I Was made For Love" - that Pat was also behind. His name is down as co-producer with Mike Theordore. Sonny told me that Pat pumped a lot of cash into the project.  

 

[G F]

On 13/11/2012 at 05:38, Premium Stuff said:

Hi all

 

Interested in REM Records out of Detroit

 

My fave on the label is Sandy & Sty-letts - I've Got Two Loves

 

Interested in any background info please like address, owner, discog etc.

 

Just realised, I'm not even sure if it is REM or R.E.M. (acronym)

 

All interesting nuggets much appreciated

 

Cheers

 

Richard

There were three 45s on REM's sister label Oncore (as far as I know) and are all from 1964:

ON 83:  THE FOUR-GENTS - YOUNG GIRLS BEWARE / CHERRY LIPS

ON 84: GWEN OWENS - MYSTERY MAN /  SOMEONE TO LOVE

OR 85: THE FOUR-GENTS: THE DONKEY / TOMORROW MAY NEVER COME

 

 

[Robbk]

2 hours ago, G F said:

There were three 45s on REM's sister label Oncore (as far as I know) and are all from 1964:

ON 83:  THE FOUR-GENTS - YOUNG GIRLS BEWARE / CHERRY LIPS

ON 84: GWEN OWENS - MYSTERY MAN /  SOMEONE TO LOVE

OR 85: THE FOUR-GENTS: THE DONKEY / TOMORROW MAY NEVER COME

 

 

I think I've seen another Oncore record as well, but can't remember who it was.  I'll post it if I remember.