Daddy Bones

I guess we're getting off-topic a little, but the Sonny/UGS records are definitely late 1960s. "I Really Hope You Do" was published by BMI in January 1968 (entry EU32776) and was covered in the December of that year by Friends of Distinction, a group with whom songwriter Anita Poree had a clear relationship. So, you're correct that the UGS label's © date of 1967 is too early for the record's actual release, but not by much. I suspect that the company was incorporateed just before this pressing. It's even possible that Sonny 1001 and Underground Sounds 1002 are sequential releases across two label names!

Also available on WB 7" but it's a different song altogether! Not a cover of what we're discussing.

IMO, the Mutt group are unique. I would put their release around 1968 as the cat number falls in with other Mutt releases around that time. The Sonny/Underground Sounds are slightly earlier as far as I know. The Janus one remains a mystery though!

The Sophisticates on Sonny and Underground Sounds are definitey the same act, but I doubt that they're also the group on Mutt. You don't get many Californian acts going to record in Inkster, MI. Can you authenticate that? I'm not sure if the Janus act is also a separate group! I was pulling apart the messy Discogs entry today and there were six different acts all piled in there! I've created new variants for several, but I've left the soul entries as they are for now. However, I suspect we have two or three different acts here.

Forgot to say - GREAT RESEARCH! Love this song and wasn't aware of a few you've posted. THANKS!

Blood Sweat & Tears is the original, it came out in 1972.

An interesting mixture! Rick Cooper gets it though. An acetate / lacquer is a disc into which audio is engraved. They're a metal disc with a top lacquer layer applied, but soft enough to be cut into. The phrase "EMIdisc" is a peculiarly "soul scene" term that's become popular because so many bootlegs were cut into blank lacquers originating from the EMI facility in Hayes. Cutting houses have almost always used their own labels to identify lacquers cut by them; there were just few places to get them in Britain. You can tell what they are by picking one up. An old 7" should weigh less than 40 grams. A lacquer weight several times more. Surviving lacquers of 7" size would have been for reference only and occasionally for promotional purposes. The ones cut to be used as masters for galvanics (electroplating process in making stampers for actual record manufacture) are virtually always destroyed in the plating process. Nowadays, pressing a 7" usually requires a 7" cut to be done on a larger lacquer; one lacquer for each side. Some facilities also cut audio to copper, which is recycled and thus the punter never sees these discs. Most of the discs Julian has above (especially those with machine-cut run-out matrices or knurled label rims) are clearly actual vinyl (test) pressings, mostly with white labels with another identifying label stuck on. The Jamo Thomas is definitely a lacquer. Even without the Pye "acetate" label, you can see the odd age bloom on the disc itself.

There's a priceless clip of Major Bill (around the 37 minute mark) in the Teen A Go Go documentary about the Fort Worth scene:

Anyone? Only want it for the sweet/doo-wop side!

Urgently needed for research project!

**ALERT** Just had to make yet more updates above because someone reminded me that there are two Edith Jones pressings on Le Cam. If anyone can help with scans, please let me know!

These are Major Bill Smith releases, so all logic goes out of the window. It's just info, floating in space... Phyliss Brown: I've Got Something On My Mind / Roma (Le Cam 630). Black text on light blue or green, 1967(?). Pink text on white pressing was probably a 1970s reissue for market demand, or just a Bill Smith cash-in. Sonny & Phyllis: I've Got Something On My Mind / Love, Love, Love (Soft S-1023) Silver on purple. Same A-side track as above, possibly around same time as first Le Cam press but likely later. Le Cam Cat. number LC-630 was also shared by Berry Street Station: I Don't Care No More / King Bee. Blue text on white. That was a (likely) 1970s reissue of Soft 1020 backed with a sax instrumental known also as "Bread and Soul" or "Soul of a Man" (Mark II and Robert Thomas on Charay) and "Funky Funky" (Mike Teague on Christi C-3377, Betty Brooks on Le Cam LC-107 and Zuma on Maridene M-108 [maybe?]).

Mark II "Bread and Soul" on Charay C-85 is also this same sax instrumental.

Total nerd-fest update. VOCAL Carolyn Sullivan: Dead / Wow (Soft 1020) "Razor" Carolyn Sullivan: Dead! / Wow (Philips 40507) "Phone" (Promos are black on pink or white, issues standard blue) Late 1967. Cresa Watson: Dead / Alpine Winter (Charay 45-700) "Tears" (White promos have three label variants, with/out Cotillion distribution ring text. A national green/yellow issue also has this text) Cresa Watson: Dead / Alpine Winter (Charay C-91) "Tears" (Local issue. Three distinct 45s share this cat. number, only one features "Dead.") Both issues probably 1969 judging from Atlantic matrices on the national pressings. Phyllis: Bobby's Girl / Dead (Soft S-1037) "Phone" Phyllis Brown: Dead / Mrs. Bean (Soft S-1037) (tuneless strings added) "Phone" (Both crap flipsides shared a pairing on S-1037 as well.) Probably 1970. Edith Jones & Leon Childs Combo: You Lay So Easy On My Mind / I Don’t Care No More (Le Cam 316) "Razor" (A-side is a Bobby G. Rice cover, putting this no earlier than the end of 1972) Edith Jones: I Don't Care No More / Help Me Make It Thru The Nite (Le Cam 335) Berry Street Station: I Don't Care No More / King Bee (Le Cam 630) (Repress of Soft 1020 "razor" version backed with another recycled flip.) Probably a mid-to-late 1970s cash-in. Also appears with A/B reversed on Le Cam 642. Phyllis Brown: I've Got Something On My Mind / I Don't Care No More (Le Cam 630) NEED SCANS/CLIPS (The Ede Robin "version" does not exist. It's merely the Edith Jones version credited as Ede on a Bill Smith compilation LP on Charly) INSTRUMENTAL The Mark II: Dead / Bread and Soul (Charay C-85) The Mark II: Alpine Winter / Dead (Charay C-85) There are FIVE pairings of sides with the C-85 cat. number. Only two feature "Dead." Has organ solo not found in other versions. Sons of Moses: Deviled Egg / Alpine Winter (Bix BI-102) (Another release shares this cat. number with "Malibu" replacing "Deviled Egg.") Cutty Sark: Dusty / Dusty (Inst.) (Zuma 652) "Oh mi amor" whispered over the track on A-side Cutty Sark: Dusty (Inst.) / The Night of Phantom (Zuma 652) (Inst. Flipside is a Larry & the Bluenotes instrumental) Zuma: Dusty / Dusty (Inst.) (Zuma 652) Paul (Paul & Paul) Happy Music / Dusty (Le Cam 346) A-side is a repress of Charay C-48, the flip is the spoken A-side of Cutty Sark above. SPOKEN WORD Billy Dee: Soul Heaven / King Bee (Le Cam 124) Thanks to Tony Rounce for reminding me about this one from 1975 that I had seen listed some years ago and had forgotten. Basically, "Soul Heaven" is a lyrical revamp of Eddie Dean's "Hillbilly Heaven" (recorded many times by artists such as Tex Ritter) but Billy describes arriving in the ever-after to meet the likes of Otis Redding rather than Hank Williams...and using the Dead track as intermittent backing, but the fuller Mark II version. Also found on Billy's own TCB label. Irv Jackson: Here Come The Rattlesnakes / Cool (Maridene M-104) Irv Jackson: Here Come The Rattlesnakes / Dusty (Le Cam 312) A spoken-word gospel track - a pointless of cover of the Wendell Bagwell hit - using the Dead backing throughout and the longest version yet heard. The flip on the Le Cam pressing is the same instrumental as Zuma 652. Cool flipside is the same as found on the Fiery Spartans, James Moore etc.

Does the Zuma version on Zuma really exist?