Name All Detroit 60s Labels

[Premium Stuff]

70s

Prime

Surely in 60s list - even if also in 70s

As per The Bee Jays - I'll Find You/Please Don't Say We're Through (Prime 10001).

(same songs as Valerie & Nick on Glover and the Debonaires on Golden World).

Cheers

Richard

Edited November 25, 2008 by Premium Stuff

[Premium Stuff]

Arc

A Canadian label no? So wrong country - albeit Detroit material.

Cheers

Richard

[Chalky]

Taken Arc out Richard and moved Prime over to the 60's.

[Premium Stuff]

Peanut 1001 is an interesting one as it had both an Inkster address and a New York one

Check out the scans below.

Anyone got an Inkster address copy for me (in top condition) please?

Cheers

Richard

Edited November 26, 2008 by Premium Stuff

[De-to]

soul track,70s???,

[Premium Stuff]

soul track,70s???,

Could well be. Here is a bit of a clearer scan of the record for label details - but no date I'm afraid - plus a scan of another release by the group.

Cheers

Richard

[Premium Stuff]

It's a reworking of Dee & Joe's Who Is It Gonna Be. Presumably the same 'Dee' and it uses the same backing track too = Detroit (and 1960s?)

However, it is backed with a version of Al Green's Let's Stay Together - so actually a 70s release?

Chalky - your call as to whether it's in or out.

Cheers

Richard

I'll add it Richard, maybe someone else can verify as well.

Here is what Tim Brown said in his Rare Soul Review (Sorry did it as a pdf rather than a jpeg so you have to click on it to see it ).

Cheers

Richard

Dee___Flo.pdf

Edited November 28, 2008 by Premium Stuff

[Robbk]

On 17/11/2008 at 01:54, Tony Smith said:

 

 

Time was a New York label, the Marva Josie sides were CorrecTone published songs.

During a low cash period for Wilbur Golden, Robert Bateman had no money to press up records of Marva Josie's 2 already completed recordings, and Correc-Tone's secretary, Laura Johnson's 2 cuts, and The Donays' 2 cuts. So, on a trip to New York, to get pressing/distribution deals for them, Batemen made such deals for those 3 records with Bob Shad's Brent/Time Records.  He also placed The Pyramids' 2nd release with VJ, Fred Bridges' "Baby Don't You Weep" with New York's tiny Indy label, Versatile Records, and a distribution deal for Herman Griffin's-produced Correc-Tone partnership subsidiary, Hit Records Moments' "Don't Take Your Love From Me".  Then, Correc-Tone got more money, and were able to press up their very late 1962 issues, and most of their 1963 issues, but did have to farm out a few of their less important new recordings and joint ventures, and Bateman also started independent productions in New York, including Wilson Pickett's recordings that went to Lloyd Price's Double-L Records, and their distributor Liberty, but also farmed out recordings he had made for Correc-Tone on Herman Griffin and Buddy Lamp to Double-L.  He also leased Marva Josie's 2nd pair of recordings to Sahara Records, an IPG-distributed label, probably representing a joint venture of Bateman with Morty Wilson, Al Cleveland and Arthur Crier.  He also farmed out the instrumental, Red  Pepper (theme song of the Prince-Adams Record shop, and a Detroit Soul DJ?) on Prince-Adams Records(distributed by Jubilee) (which had been produced by Sam Motley, and arranged and played by Rudy Robinson, and recorded at Correc-Tone as a joint venture with Correc-Tone Records).  Bateman also got a distribution deal for Correc-Tone with Atlantic Records, which picked up Theresa Lindsey's "Sugar Mountain", The Moments' Hit Productions cuts (originally on Correc-Tone's Hit Records), and a few others.  So, because of Golden's uneven cash flow, Correc-Tone Records had a hodge Podge of releases issued on their own Correc-Tone, SonBert, and Hit/Hit Productions labels, mixed in sporadically, with recordings leased to other labels, or joint ventured with other producers and placed on new labels started just for those specific issues.

Edited May 31, 2021 by Robbk

[Robbk]

On 15/11/2008 at 10:56, Chalky said:

 

 

Sew City New York as far as I'm aware. Prodigal is it a soul label? besides it's mid 70's and motown no longer Detroit then, same for Gaiee. Was Chisa Detroit? Assumed it was more like West Coast?

Sew City was a New York label with nothing to do with Motown.  Chisa was an L.A. label, distributed by Motown, but not a Motown subsidiary, just like Kudu Records (distributed only).  That was a different situation from Harry Balk's Inferno Records, which became a half-Motown-owned subsidiary when Balk joined Motown to run its Rare Earth label. 

[Robbk]

On 16/11/2008 at 08:37, De-to said:

read somewhere ages ago "twirl" records started in detroit then moved to new york ??,

Twirl was owned by Harry Balk and Irv Mikhanic.  They commuted from Detroit to New York, and did a lot of recording of their Embee Productions there, especially their production deal with New York's Big Top Records, and Jubilee Records, so they opened an office for Embee Productions, and Twirl Records, and Twirl's subsidiary, Storm Records.  But Twirl always had an office with Embee's office in Detroit.  It was always a Detroit label, throughout its run.

[Robbk]

On 18/11/2008 at 07:22, Marc Forrest said:

 

 

Yes, as its a demo release from the Detroit Free Press, based in Detroit obviously

 

 

La Crystal (Billy Ferrell) dunno needs verifying

 

It is detroit, just played it this very morning

 

Markie address in R&B Indies as Chicago???

 

No, Detroit based ????

 

Marc

Markie was a Chicago label.  It was a sister label (subsidiary) of Ran-Dee Records.  They both used Massa Music as their in-house publisher.  Despite Andre Williams (A Chicagoan who spent his career commuting between (bouncing between) Chicago and Detroit), being its main producer, and Jimmy Holland, and his group (The Four Hollidays/Four Holidays/Hollidays/Holidays) all originally being Detroiters,( they also lived in Chicago, especially during their time on Mar-Kie and Mercury), the label was NOT a Detroit label.

[Robbk]

On 18/11/2008 at 15:21, Premium Stuff said:

 

 

Hi Marc - hope all is well with you

 

I don't actually know this one. Just went by the artist saying it was Detroit. Any good?

 

I do have a scan though

 

Cheers

 

Richard

Cody recorded for a few Cincinnati labels before taking ex-Cincinnatian, Herman Griffin's advice to go to Detroit to look for singing work.  This looks like a King Records Plant pressing from Cincinnati, and, thus, a Cincinnati label, as opposed to a Detroit label.I can't remember Griffin's quote on this, but I heard what record companies he visited first in Detroit, and Universe wasn't one of them.  And I've never heard of "Universe" as a Detroit label.  Unfortunately, I can't read the credits, so I can't tell if the publisher is a known Detroit, or if any of the people are known Detroiters.  But I doubt that.  That looks like a King small, local label pressing to me.

[Robbk]

On 13/11/2008 at 16:25, Guest mel brat said:

 

 

The 'Motown' Inferno incarnation (different design, and pressed on vinyl) was presumably a product of Motown having bought up the Inferno roster, probably at the time they acquired Ric-Tic - hence the Volumes release. (Was theirs the only release on the Motown Inferno label?, I forget...)

 

Plus the Lollipops turned up on VIP with the superb and sadly underrated "Cheating Is Telling On You", (a far better song than "Loving Good Feeling" in my opinion!)

Yes, Inferno distributed by Motown was sort of a Motown subsidiary, as it was half-owned by Motown, and the other half of it remained owned by Harry Balk, when Harry came to work for Motown to run their new Rare Earth label.  Motown never signed any of Balks' artists after he left.  They went with him, as far as I remember.  There WERE signed to record for Motown while the partnership was in effect.  I'm sure none of you can produce any evidence that The Lollipops, Volumes, or Detroit Wheels recorded for Motown after Balk left in late 1971 or early 1972.

Rich 1801 was also a quasi-Motown subsidiary, as it was half owned by Cornell Blakeley's manager, Rev. James Hendrix, and half owned by Berry Gordy, both who had shared in Blakeley's career since his start with Hendrix's Carrie Records (which WAS a Detroit label, despite Hendrix operating it from his former home in South Carolina for a couple years).

Sorry if I'm answering questions from a 13-year old thread, which may have been answered years ago.  But, somehow, I missed this thread (maybe before I started on this forum?).

[Robbk]

On 26/11/2008 at 14:14, Premium Stuff said:

Peanut 1001 is an interesting one as it had both an Inkster address and a New York one

 

Check out the scans below.

 

Anyone got an Inkster address copy for me (in top condition) please?

 

Cheers

 

Richard

Buddy Lamp was part of Detroiter/NY producer, Robert Bateman's former Correc-Tone's recordings deal with Lloyd Price and Harold Logan's Double-L Records in New York, and, I have heard that Peanut Records was a partnership between Lloyd & Logan, and Lamp.  So, the Michigan address may just be Lamp's home address, while Double-L's address was a post office box in the skyscraper building at 1650 Broadway, like so many of New York's small and medium-sized record labels.  And Lloyd & Logan shared the publishing on several, if not most, of Lamp's Peanut Records cuts.

Edited May 31, 2021 by Robbk