Garethx

Also booted on Big Bird though.

That 12" remix has an awful, weedy drum sound!

These were pressed at two Decca plants. Gloversville NY and Pinckneyville IL. Pinckneyville used a ◆ symbol at the end of the b-side master number. Gloversville used a ✤ symbol at the end of the b-side master number.

The above Chairmen track sounds a lot like the Danny Woods solo track Rollercoaster.

Not Sebastian Williams, who had a classic Gospel/Soul voice. The 45 in question sounds like one of those hippie jazz things like Boco.

This is the original. The other label design is a definite repress.

Unfortunately the HBO show mentioned, Vinyl, has already been cancelled after one series. A shame as even though it was deeply flawed as a drama it was fascinating for the tiny proportion of the population interested in the machinations of the historical music business. There are quite a few detailed online histories of Levy and McCalla and their fairly significant roles in the New York mob.

These 45s are pressed by QCA (Queen City Album) in Cincinnati Ohio.

The CJ release is mastered and pressed by RCA and the mastering code indicates the second half of 1967.

I don't think this is the case at all. I think the confusion arises because a Youtube clip purportedly of the orange-labelled stock copy uses the version on the Kent LP "Tears In My Eyes", which is indeed a quite different mix. No 45 I've ever played of this, demo or stock, features a different version. My current issue copy has the following deadwax details: ℗ 1972 DUKE RECORD INC SCM 402 165. I'd be interested to hear of any 45 which features different markings. Great record and a shame Rhonda Davis didn't record more. Two Gospel 45s on Peacock from 1967 where she was billed as "Rhonda Davis, 15 Year Old Gospel Prodigy", the Duke release and I think that's it. According to comments on the Youtube clips Rhonda was living on the streets in Oakland when last sighted. It leaves a slightly bitter taste when I see goons selling carvers of "Can You Remember" on Ebay for ridiculous sums.

Those plastic sleeves are really bad for your 45s.

Wasn't this the 45 which John Anderson first encountered via a 25 count box in Johnnie Mae Matthews' laundry room?

I think everyone raises some interesting points and I go along with a fair amount of the comments from Rick and Robb. Thing to bear in mind about Jackey Beavers was that he wasn't really a Detroit artist in the strictest sense. His own thing was pretty much contained in Western Michigan and his modus operandi seemed to be recording and releasing his own Jaber product—either under his own name or that of his touring concern and associated acts—and then leasing it where he could to other, national companies as he did not long after Revilot 208, with Mainstream in NYC and Sound Stage 7 in Nashville. "I Need My Baby" / "A Love"… is an unusual release for Jackey Beavers in that he did not generate the songs or tracks himself. Obviously there's the Steve Mancha cut from six months earlier and we know from the Groovesville archives that several artists tried different approaches with the INMB backing track, even down to Don Davis using it for Carla Thomas some years later when he had moved to Stax. Maybe it was done as a favour on the part of both sides and 'promoted' half-heartedly in that spirit. I think I maybe overstated its 'non-rare' status in my first post. Obviously it's always been pretty difficult to find. I assume John Anderson could tell us more about finding the initial quantity which turned up.

I would hazard a guess that the reason this 45 never got out of the distributors or even pressing plant in 1967 could be something to do with the huge success of the preceding release. The Parliaments' I Wanna Testify was a Hot 100 hit and huge R&B smash. When a small label has a big seller it can create logistical and cashflow problems. Money earmarked for getting the Beavers 45 pressed, distributed and plugged might have had to go towards satisfying demand for the Parliaments release which would have dominated the Revilot office in the middle of 1967.

Is it 'rare' at all though? I would argue that Jackey Beavers on Revolit is not a rare record in the true sense of the word—i.e. known from a handful of copies, seldom for sale. Yes, it's always been expensive but that doesn't mean rare or even scarce. Since Ebay started there have been dozens, maybe hundreds of copies through there. Even a mint copy in late 2016 which was a freebie thrown in with a press photo of Jackey for a Buy It Now of $35!

Tony Rounce once gave a very helpful explanation of the process by which US discs were dubbed at EMI studios by expert engineering staff for UK release. These dubs had their own mastering details machined in. I'm pretty sure this is the case with DB on Stateside. Whether this was also the case with the London release with a similar process undertaken at Decca I'm not sure.

These were pressed at two Decca plants. Gloversville NY and Pinckneyville IL. Pinckneyville used a ◆ symbol at the end of the b-side master number. Gloversville used a ✤ symbol at the end of the b-side master number. It would be interesting to find out if one of the plants was responsible for the poor quality pressings and the other for the better ones.

The majority of the later pink Revilots on vinyl are pressed at ARP in Michigan.

I think Kris's summing up is correct. To add to the above all the legit US copies are pressed at the three Columbia plants which existed at the time: Pitman, NJ; Terra Haute, IN; and Santa Clara, CA. All these plants had the ability to press styrene and vinyl. Sometimes the plants used identification marks on 45s but not always. A backwards S for Santa Clara, an incomplete P for Pitman. The label artwork would have originated at Columbia's Custom Office in Chicago and was used for all regional releases. Such a minefield with the two DB titles on Revilot. Add the two British presses (Stateside and London), two Canadian presses (Revilot and Quality). Plus "Somebody (Somewhere) Needs You" with two different Publishing credits (T.M. Parmalier and Jobete) which seem to exist on both pink and grey issues. I've never seen a demo of RV-203 with the Jobete publishing credit but wouldn't be surprised if one might exist. Seems to be a case of Revilot using a Motown song without having to account for it. The company's business practices sound distinctly lassez-faire in terms of licensing and accounting. The definitive tell with "Open The Door" Revilot bootleg seems to be very pale pink labels and the typesetting of the credits is indistinct/blurred compared to original copies.

Hardly 'extreme lengths': waving a used teabag back and forth across the label for twenty seconds doesn't take too much effort.

Interesting record. I can see its appeal from a 'scene' point of view but can equally see why it is sometimes seen as awful to fans of Truitt's other records, as it takes a decidedly Middle Of The Road approach. I love it, but it took me a while to appreciate it. I think the deep side of this and his preceding release, "Baby I Need You" were two of the very finest deep soul records ever cut at Fame. Simply sensational on all counts: songs, arrangement, vocals, the rhythm tracks. Demos with just "Your Love Is Worth The Pain" on the grey and amber label used to be really plentiful and always cheap but seemed to have dried up in supply in the last couple of years.

Note different writer credit, publisher and timings on Mal's scan. Would have to question the legitimacy of that variant.

Also another press: same typesetting as the grey/amber but same label stock as above.

Is it possible to lock this topic now? There's the risk that any of the genuine info on the record in question is getting buried beneath a mountain of off-topic chit-chat.

^ I agree strongly with this. How can you crab this record from a Northern Soul perspective?