Robbk

The reason it may be boring is perhaps because he is consciously leaving out the juiciest parts, because they may not put him in the best light (similar to what has been written down as US history in the official US school books).

There are way too many that are fantastic on both sides. like Darrell Banks, Terri Bryant, Miracles, but I like The Flamingos on Chance "Golden Teardrops"/"Carried Away" (1953). Tough having some of the highlights of one's life being 61 years ago.

The Ink Spots used their own name, as did a few other '50s groups and single artists. But most used fake names, and most cuts were made by Caucasian non-stars (many of whom had had their own commercial records released, but mostly with no success at all. Many of them also recorded "covers" of hits by hit artists on other budget "cover" labels.

That is what I had always heard. Maybe this was a "vanity" press run, just for Berry to provide concrete records for The Andantes' personal desires, similar to Miss Ray's tiny run of Miracle 2. Berry had promised them a record, but had no intention of letting them make personal appearances or go on the road to promote their record. He wanted them singing backgrounds in the studio every day. Maybe this is similar to his favours of letting a record get pressed for DJs Joel Sebastian and Tom Clay. Maybe only a box of 50 were run (plus the 6 press run test records).

Both the Andantes and Frank Wilson probably had 500 or 1000 pressed up, and were both recalled, and per Berry Gordy's instructions, were destroyed before being distributed. Those that did escape other than the official Motown file copies and pressing plant test pressings were probably lifted while at the distributor, before the destruction order was given. I'm sure that none ever got to shops in Chicago. I'd bet none never even got to shops in Detroit.

Originally, I thought that only the 6 stock pressing plant test copies were pressed up, with 2 being retained by the pressing plant (which Ron Murphy eventually got-and later sold), and 4 copies going to Motown, 2 to Berry Gordy, 1 to The Motown Record File, 1 to The Jobete Music File, and 1 to Quality Control. I'm beginning to wonder if for this and Soul 35019, there wasn't a regular press run and shipment to a Detroit distributor, and subsequent call back with order to destroy them, and some "escaped". Unlike the Frank Wilson, there seem to have been NO DJ copies pressed.

Actually, "Don't Do It"/"You Broke My Heart", although Detroit-produced (and recorded at Motown's studios), wasn't on DETROIT'S Rich label. It was on Nashville DJ, John Richbourg's label, located in Nashville, Tennessee (despite Blakely's Detroit-based manager, James Hendrix and Motown's Berry Gordy being the owners of the product). That was Richbourg's Rich's last release. After Rich went bust, for whatever reason, Gordy and Hendrix released "I've Got That Feeling"/"I Want My Share" on a "new", Motown pressed, Rich Records (which WAS a Detroit label-in ALL ways).

I'd say that the Mable records look like around 1977-79. I believe Hendrix was already in South Carolina in the early '70s, based on some later Carrie pressings I've seen with a SC address. And, I was told that the Shenita release (also with a SC address), came out in 1973.

These have to be '70s re-issues by just James Hendrix (probably without his partner, Berry Gordy's knowledge, due to its meagre sales (probably just in The Carolinas and Georgia, or, possibly across the South)), just as the Cornell Blakely on Shenita records was. Both of those Hendrix re-issue labels operated out of South Carolina, where Hendrix had moved in the early '70s, after leaving Detroit and Tennessee.

Shelley Haims, the head of Pied Piper Productions, was, at least, co-owner of Sport Records (possibly along with Andrew Harris?). Haims was listed as owner of that label on several sources. Harris was listed as the owner and founder by a couple sources. Could it be that either Harris, or Haims, was the linking co-owner of all 3 labels (Sport, Boss and Sir Rah), and that Boss and Sir Rah had other co-owners? Could "John L. Brown" be a stage name for Andrew Harris, and the basis for the name of the publisher, "John L Music"? I'm confident that Lorraine can answer these questions.

Monty Python is my favourite type of comedy. I don't like The Three Stooges much at all. They were much too slapstick. I don't think Laurel and Hardy were all that funny, except for their more subtle underlying comedy. Same for The Marx Brothers' more slapstick sequences. I DO like Groucho's more subtle humour, especially by himself. He was an extremely funny TV quiz show host and individual humourist after his film career ended. The Marx Brothers were Jews from Alsace (German part of France). They didn't have any British blood in them. They probably left Alsace (which was part of Germany at that time) because The Germans have no sense of humour (if their top all-time comedian Willie Milovitch is any criterion). I DON'T like Bennie Hill or Tommy Cooper, but DO like The Two Ronnies, Faulty Towers, The Black Adder. Not Dame Edna so much, indifferent about Morecombe & Wise. I love Margaret Rutheford, Alec Guiness, Alastair Sim, Robert Morely, Peter Cook, Peter Sellers. I never liked the I take it that you are referring to British subtle (high-brow) humour, as opposed to British slapstick. I think, if I had my druthers, I'd choose British over US. But, I like US/Canadian repitory group comedy, such as Second City and The Saturday Night Players. I think Tiny Tim and ANYONE are total opposites. And I DID get Rod's joke. I was just pulling his leg (but didn't move it all that much, I'm afraid).

I agree! It is to 1960s Motown what Ian Levine's Motor City recordings are to '60s Motown. The original shouldn't have been "adjusted". It was fine, just the way it was.

Thanks Heikki. I've wanted to know that for a long time.

Certainly Lorraine C, can tell us the relationship that Pied Piper had to Sport, Boss and Sir Rah Records. And while she's at it, I hope she'll explain the situation af Detroit's Giant Records.

Now that I've listened to the snippets, I agree that they must be a Caucasian Soul group. They sound pretty good, at least on "No time For You", "Ain't No Big Thing", and "Sweet Little Girl", that rock song, "Underdog" was terrible.

i hadn't heard about any connection between a Charades group from Cleveland. I was just asking if anyone knew about this group, and if they had recorded for Way Out. There wasn't much else going on in Cleveland as far as Soul music production, other than Saru, Courier and Compass, and other small labels. The Charades on Choreo sang "Please Be My Love Tonight", which was an East Coast regional hit in 1962. They were from New York. But, as you didn't list them along with the other Cuba Gooding Charades' labels, i guess they must have been a different New York group.

Was this a Cleveland group that recorded for Way Out Records? If I'm not mistaken, the most well known Soul Charades group was a New York group that recorded for MGM, Choreo, and Okeh.

You misunderstood my posts above. The ALL-black pressing is a (2nd) re-issue from 1958. The original, was the black top with ship, from 1956. The Checker T.V. Slim was the 1st re-issue in 1957. The silver top/black bottom was the first Argo label design, but that design ended before Argo 5277 (before ANY issue of "Flatfoot Sam). As I stated above, your pressing is a mislabeling (possibly the first original press run, but possibly only on a run in a different plant). But, BOTH correctly-labeled and mis-labeled black top and silver bottom press runs were on the original sales and radio play run in 1956.

What I would like to know is how Ingram got together with Bateman and Wylie. Ingram was from a small town in Tennessee, and had been singing in Memphis. I can't Imagine Wylie being in Memphis in 1965. Was Ingraham in New York when he met Bateman? Ingram later recorded in Memphis for KoKo Records. But, h also recorded for Hurdy Gurdy in New York (also Bateman connection). Did he live in New York for a while?

What I didn't write above, but thought I had written, was as follows: Robert Bateman had produced Luther Ingram's previous release on HIB Records, and published both sides himself by his Brianbert Music. , and same for Ingram's Smash record. Bateman, producing both in New York, and in Detroit at that time, got his old Motown colleague, Popcorn Wylie, to write both his HIB and Smash A- sides. So, it seems that Bateman, in his capacity as an independent producer, got Ingram as a client, and had Wiley write the songs for him. Given that, in seems most likely that Bateman recorded (and probably released) Ingram's version before Jamo Thomas ever heard the song. My memory is that I saw (and bought) the Smash record before hearing or seeing the Jamo Thomas record, although the latter was the hit version in Chicago. It's unlikely to me that Bateman first gave his song to Thomas, after his friend Wylie's previous song had been produced By Bateman and Wylie, and Ingram was still Bateman's artist, and Bateman later recorded and released a version by his own artist, AFTER Thomas was experiencing a national hit with it. That makes no sense. That Jamo Thomas or his producer heard Ingram's version first, and Thomas wanted to sing it, and, later had a hit with it, makes a LOT more sense.

We had "Lonely Lover" (the 7 inch cream label acetate, with red ink typed title among our choices for "From The Vaults". But, I don't think Rod taped that off my tapes in the large batch he taped from me in 1981.

I should have recognised her. I live and work in Denmark for some months each year since 1989. But I guess I was out of the country when she was knighted.

I know the feeling. I can see well enough with my reading glasses on, and can remember just about everything I saw or heard, or experienced from 1946 through about 1967. But, I have no idea what's been happening the last 20 years or so.

Looks like Etta Cameron, rather than Etta Campbell.

Lana was an oldies label that only relased alternate takes of previous hit records. That Lana record came out in late 1964 and is an alternate take. It is fairly rare, too. But, as it is on an oldies label, it shouldn't be too valuable. You might note that the recordings on Lana are generally not very good quality, and those alternate takes, although interesting, are generally not as good to ANYONE'S ears (no matter what taste one has) as the hit version. There were a few exceptions, that were better. They tend to sell for considerably more than an oldies label record, but still not in the league of the original label records.