Dave Moore

Shifted two in the last year. One at 550 (VG+) and one at 650 (Ex)

I too am absolutely stunned and shocked by this revelation!! Who on Earth would destroy Southern Comfort by adding the devils spawn to it??

Have you tried this: My link www.theresthatbeat.com

It's gubbins. Sounds like a newly formed Salvation Army Band rehearsal. Used to go for a slash whenever Ginger hammered it! It was always good for 'comfort break', it meant you didn't miss a good record.

This (MWIC) was first pressed on a Carolinas label (boot) Tamtown wasn't it? Really good quality soundwise and it replicated the Tamla label. Although not sure if IOTRT is on the flip. (Not with 45s so can't check.)

Clear yer lugs out Davie lad...I played Herman Griffin at the last US Hitsville shindig at La Qunita. Can't have made that mush of an impression eh?

Hi Albert, Great record, in fact Deon J never made a bad one. It came out in the US on three different colored labels.2 different red, one maroon and of course the White Promo. (might be two promos actually). All are cheap and can be picked up quite easily. Did you see the picture with The Hitsville Gang and Deon at Lunch? If I have a spare of the 45 I'll give it to you at the weekender Mate. See you shortly... Dave

20/30 quid maybe (Tops). It's around in numbers. Great record, every hoime should have one.

Thanks Cel. But it's the white one I need. Damn! Thought I'd got a result then.

bit of a bump now the weekend's over.

Originally (?), came out on Impression. Would like a W/Demo on Impression if anyone has one and wants to part with it.

Hi Richard, Yep that's the bugger! Now.....has anyone got one for sale?

Throw up a scan Mate if you can please. Pete: The W/Demo definitely exists I've seen a few over the years, just never got round to picking it up. Tony: Hope you well after yer littloe 'escapade' with the traffic. Not sure if it's a West Coast pressing or just a variant of the blue or red one. What makes you think it's a West Coast issue? Any info appreciated.

Aw..C'mon guys....someone's got one somewhere gathering dust on a shelf. Give it a home where it'll get played.

Ady's having a dig around. Fingers crossed! I'll keep you posted.

James, FFS will you ever get off that fence!

WANTED: CODY BLACK - GOING GOING GONE - RAM-BROCK W/DEMO No tirekicking here, if you have one in good nick I'll have it at book price. PM or hitsville2648@earthlink.net

Soul label: Cat#35041 Promo is white label. Stcoker is purple 'swirl' design. Also got a release on the US Collectables label. Don't think it's ever been reissued or booted on Soul has it? Always plenty on Ebay for a few bucks.

If I remember correctly weren't Andy and Rob in Philly, en route to see Ms Scott in LA when they obtained the acetate, and chose that as the artists name for the disc?

What a refreshing post.

The story of 'World Of Happiness' and who/how found them was in Issue #4 of There's That Beat! in The Harthon Story. I have had a reply from two of the Harthon Trio reference Hollis' mother but am awaiting a reply from the third.

Done. I've PM'd you.

Buster and Eddie - Can't Be Still - Class DEMO wanted, cash waiting. No tyre kicking here, if you have one for sale in good nick I'll have it at the book price.

Hi Dave, You're right I did misunderstand a couple of statements from your initial post. There were obviously successful labels before in Detroit pre Motown but I feel it was Gordy who galvanised the talent, instilled a regime of good business and good product only and laid the foundations for what became 'our' music. Others in the city also played their part but I do feel that Gordy was the inspiration for it all. Your reference to Chess and Modern are indeed valid as black music labels too. I was refering to the soul-styled content of labels and it was other genres of music that proved to be the foundations of these particular labels. Chess particularly is still revered as a blues label, despite a healthy Soul A&R rosta during the era. The proof of that is in the state of the studios now. I did laugh at your 'Rockin' Robin' comment as I would have thought that most soul fans would have to acknowledge that by then the signature "Sound of Young America" had actually lost it's lustre by then and had moved way beyond any critical acclaim as far as soul devotees were concerned. I still think the Uncle Tom comment was the wrong use of phrase and wouldn't have thought it had a place when discussing the work of the people I mentioned in my first reply. But there you go, that's just another of one of them there opinions.

Hi Dave, You've certainly bought into the mainstream media's version of Motown's potted history eh? You seem to have ignored the fact that every 45 ever produced was manufactured for one reason and one reason only...to make money. 'Uncle Tom mush?' I'm sure the late greats including Popcorn Wylie, Uriel Jones, Joe Hunter, James Jamerson, Benny Benjamin, Robert White, Norma Whitfield and the master of the B3, Mr Van Dyke himslelf would appreciate their legacy being dismissed in such derogatory fashion. The FACT is that many of the soul oriented Detroit labels of the early sixties were in fact NOT doing so well which is why Gordy's empire gobbled them up. I would hardly hold the Fortune imprint up as an example of a rival to Motown either. Different eras, different music. The Isley Bros track you refer to was in fact a version of the The Miracles track from their LP. I first heard both versions back in the late 70s. It's been around turntables since then. You mention the 'boy Wilson' as being the most successful producer Motown had? I think you'll find that Lamont Dozier is not just Motown's most successful producer but is streets ahead in terms of commercial success than anyone from any label/genre. That includes Elvis, The Beatles..blah blah blah. Motown directionless around 1963? With licencing developing all over the world, with a number of smash hits in place, the Talent Development Division in full flow, with the corporations Tamla, Gordy and Motown imprints vying for release at the quality control Fridays, the Snakepit running 24 hours a day and the company owning it's own Studios, PR department and publishing company thus ensuring the cash flow yep....all sounds pretty directionless to me. LOL! The bottom line is...if you speak to 99% of the label owners of the era, (including ones from other cities around the States), they will tell you categorically...they all wanted the success that Gordy had generated. Many of them used his format to try and gain a foothold. Many were successful and many fell by the wayside but the INFLUENCE on other black music makers of the day is absolutely unquestionable. From the Philly DynoDynamics team, the LA Mirwood set up, Carl Davis' output in Chicago, Gamble and Huff's development of TSOP, not forgetting of course the Pied Piper contributions, Revilot, Carnival, Groovesville, Arctic, Shrine, etc etc all heldd up Motown as the beacon to emulate. The thought of Motown 'poaching' back room staff as the company grew is ridiculous. Many of the later contributors actually went banging on 2648 WGB's door! So....it's obviously all about opinions but I'd say it was anything but insulting to suggest that Gordy's musical contribution was an example that many thought to repeat but would venture that the more astute amongst them would use his success to further their own aspirations, a great example being LeBaron Taylor who rose to be Vice President of CBS. To PaulB.... Soak it all up Mate. It's fantastic. All of it. Rare, not rare, uptempo, downtempo, oldies, newies, overplayed, underplayed, 45s,33s, EPs LPS, who cares....just soak it all up. I've been doing this for 35 years and STILL hear stuff for the first time and think WOW whilst the next 45 I hear may be an oldie that did the same 35 years ago. I defy anyone to listen to The Elgins 'Heaven Must Have Sent You' and not recognise the brilliance of it. Forget the baggage...LISTEN TO THE BLEEDIN' MUSIC and the people who created it.!