Robbk

It w It was titled: "The Flamingos - Their Hits then and Now". Here's a link: https://www.discogs.com/Flamingos-Their-Hits-Then-And-Now/release/3129404

So. it was recorded when The Flamingos moved from Chess(Checker) to Philips in 1965, when they re-cut more "modern" (mostly uptempo?) versions of their old hits, for their Philips LP.

What is the "serial number" of a song? I only know of record company catalogue numbers and pressing plant press run numbers. Do you mean the press run number?

Yes. That's typical of serious collectors. Even after we get into the several thousands of records, we can remember where and when we got each one. They are like "old friends".

Unfortunately, I grew up a Midwesterner, and I don't know The regional and local East Coast details very much, and never talked with or worked with people from East Coast labels. I suspect that fee bee leased the master to the version that came out on Roulette, and, some years later, (after Roulette's rights period lapsed, released an alternate version, for the oldies market. I don't know why they changed the name of the song (unless they released it locally only, DURING Roulette's rights period, and the title change was part of the agreement, or it was to hide the release from Roulette).

If I were him, I'd be in no great hurry to unload it. I would wait to have as many potential bidders hear about it, see it, and make offers. There should be a bidding war, or it's not the right time to sell.

Upon reviewing the videos, and especially looking at the centre holes, I have to agree now, that my impression of non-roundedness was due to the the imperfection in the digitalisation of the scanning process, as my scans of original records show that same effect. I apologise for even bringing up the comment, although there was no malice intended (just an observation).

Good point. Cutting the centre hole would be extremely difficult. I'll have to look at some of my scans of my own records to see if the roundness on those real labels can appear to be imperfect.

I hate to be the bearer of bad tidings, and also I don't want to be someone who might appear to be accusing anyone of anything. But I have made an observation upon looking at the two videos above, that I'd like checked and commented by others. Looking closely at the edges of the paper labels, they appear to not be perfectly rounded, but appear to have a series of very small straight edges, as if cut by a scissors. That implies that there is a possibility that the labels might have been pieced together from various sources, and manipulated in graphics programmes, printed out on a printer, and the image cut, as carefully as possible, using a small scissors. I'd like others on this thread to again look at the 2 videos above, and look carefully at the edges of the paper labels, and see if you think they are not rounded as on o normal, machine-cut paper label. I'd like to find out if I am imagining this. I fully understand that the whitish areas on the edge of the paper don't necessarily indicate scissors cutting, as they could easily have been colour removal from normal wear from movement inside the record sleeve and handling. It is the seeming slight non-roundedness that caught my eye.

Good question. Generally, Roulette was a large, semi-major label, which leased masters from smaller labels, rather than the other way round. So, we might go with the odds, and assume that the Fee Bee issue was released first, saw some local sales action, and was leased by Roulette for national distribution. However, sometimes the original owner of masters which were originally leased to larger companies, when the lease rights period ran out, re-issued the cots on his own small label, for the oldies market. Pittsburgh's Fee Bee Records was one of those small labels which operated for many years (lasting into the 1970s) re-issuing old cuts, which had been leased to larger labels during their initial run (i.e. Dell Vikings - "Come and go With Me" and "Whispering Bells"). So, this Chuck Corby and Group record MAY possibly have been leased directly to Roulette as a master (not pressed by Fee Bee), and only first released by Fee Bee several or many years later, exclusively as an oldie. I will be very interested to hear the real, documented answer to this question. But, until we get that answer, my guess would be that Fee Bee released it first, locally, in Pittsburgh, as was their modus operandi.

I have all the Starmaker 45s, including a mint copy of the Commercials. The Commercials were a Detroit Gospel Group under a different name. Both cuts are pure traditional Gospel tunes with secular lyrics replacing the Gospel lyrics.

I think both G. B. Day and "Stop, I Don't Need No Sympathy", were very Soulful, but they only sold well in a couple of regions. Her Dot cuts were mainly in the "Show-Tuney Style" in my opinion.

I never saw the complete lineup from any period, but seem to remember an Emanons group existing throughout the whole time period (sort of like the situations with The Velours from New York, and The Royal Jokers from Detroit.

Lee Andrews and The Hearts, The Willows, The Dreamlovers and Garnett Mimms and The Enchanters are just 4 of the Philly groups that recorded, at some point in their careers, in New York. I believe that The Emanons did, as well. I've always heard and even read a few times that they were the same group, but with several member changes. But, I don't have any hard evidence of that, and didn't know much about that group, as they were East Coast, and fairly obscure to people outside The Northeast.

I have the original, which I bought when it was out in 1966. I never paid attention to the crossout before. It had "MM-1026' first, and that was crossed out, and MM-1026-1 was added. Whay did they bother to cross out the first one. All they had to do was add the second dash and the one! Bizarre! I believe that the blue issue was a boot. I don't think Modern had legit light blue pressings.

I know that Carl tries to stay as true to the "classic" quality sound as possible. He did a fantastic job on this one.

Very nice! I've always liked that song very much. I'm glad to see (and hear) that good-sounding music is still being produced. Usually I don't like the sound of the instrumentation and recording after 1971 or 1972. It usually sounds muffled to me and too noisy and the instruments sound synthetic. In this recording, the sound is really clean and crisp, and the individual instruments can be heard, and they sound like real instruments. And Diana did a fabulous job on the singing.

Other than her Smokey-produced Motown cuts, I'm most partial to "G.B. Day" on Mercury from 1965. Here she is lip-sinking to that record on US ABC show, "Shivaree": She was from Baltimore originally, I believe, and was "discovered" by Motown staffers when she appeared on a local Baltimore or DC show that included some Motown artists. This recording was produced in New York by Ed Townshend, and arranged by Artie Butler. You can hear Cissie Houston and Dee Dee Warwick singing the beautiful background vocals. Later, for Dot Records, she was produced, both in New York and L.A. by Gerry Granahan, arranged in NY by Artie Butler, and in L.A. by Gene Page. So, she had really accomplished people with whom to work. But, she never strayed from her "Show Tune style", and so, couldn't really break through into The Soul or Pop markets. She varied from it into a more soulful style with Carl Davis at Brunswick in the early '70s, with "Stop! I Don't Need No Sympathy". But, it was too little, too late.

Linda Griner is her real name, and she chose "Lyn Roman" for a stage name. After recording with Motown in 1962-63, she had some nice releases on Mercury, Dot and Brunswick from the mid '60s through the mid 1970s. She was always a bit "show tuney" in her style. I don't know anything about her UK releases.

It appears that Ernest Burt owned both Magic City and Burt Records. He bought Correc-Tone's studio at 8912 Grand River in 1966 from Wilbur Golden. He changed the name to Magic City Studios, and started Magic City Records. I believe that I read that he started Burt Records in Nashville (near the beginning of The 70s?).

I agree. That yellow Tri-Sound with stars, MUST be legit. Having stamped mastering ID, AND a label design and font used by the same pressing plant that Tri-Sound used on one of The Devotions' pressings from that same plant makes it clear that a bootlegger wouldn't have been able to pose, successfully, as the owner or representative of Tri-Sound, to get that pressing job done.

I've never seen nor heard of a white DJ with hand signed "Edward Crook". That must be dead rare (maybe only the one box of 25 or 2 boxes of 25 each). I've seen one yellow DJ version, and one white (similar design to the common yellow commercial pressing).

I used to live in Shoreview in San Mateo for 3 years (only a couple blocks (streets) from Art and Henry. I knew them pretty well. We used to swap duplicates. I collected R&B before Soul ever existed. I have a few of Henry's facsimile repros. They were great for people who didn't have thousands to spend on single records.

The acetate we had had a loud pop in it, but, otherwise, it had good quality sound. But it was probably "lifted" from Motown's premises, and sold in the early 1990s, when so many Jobete and Motown acetates were sold on e-Bay auctions.

Bump up for Keith Hughes and others to answer my last question.