Robbk

I have a white DJ of it. Would you like that in addition to the store stocker you already have?

I agree with you that Marton being involved makes the orange release a 2nd legitimate release. But wouldn't a reissue 12 years later be treated the same as a 5 year + oldies re-issue like an "Oldies 45" would have been to a VJ issue, or a different label (Red or Yellow) RCA, instead of the original black, or a gold Chess Oldies series with same catalog number as the older, original Blue Chess. NS DJs don't play oldies re-issues, do they (or several years later re-issues, do they?

Then why were there so very many boots made from photos that had thin and broken lines that clearly identified them as having been photographed from an original 45? Most bootleggers didn't want to buy a gallery camera?

It seems to me that I remember the purple one being the first issue, and remember seeing the yellow one only after the '70s started. Could it be that Kris Records helped fund a repressing in 1970 or 1971?

I've had one since the record was out. It was fairly common and easy to get on red stock. I've seen hundreds of them. Maybe I don't understand the question, but I can't imagine why it would be asked.

There are many Northern Soul fans that would probably like The Marton version better than ANY Motown version - even with a fabulous Funk Brothers' instrumental background mix. I am not really a "Northern Soul" fan. I'm a fan of "Black American Music" from 1935-1967 or so. I, for one, would like to hear what The Funk brothers and the other classic Motown recording session musicians have done, or would have done, with Jobete Music published songs that have come out on other labels. I'm sure that there are also many NS fans who feel the same way as I do. Tamala Lewis did a fabulous job on the vocals of both "You Won't Say Nothing" and "If You Can Stand Me". But, I'd surely like to hear what The Funk Brothers would have done with those 2 songs in 1964. I would also like to hear what they'd have done with "You Turned My Bitter Into Sweet", "Let Me Know", "Just Call On Me", and some of Marv Johnson's UA songs that were recorded in Detroit, and some of Motown's songs recorded by "The Wrecking Crew" in L.A.

Chalky is correct. We originally taped it off an uncredited Jobete Music acetate with just the title. I just used the name The Creations as a "filler" name. When Rod S. copied my tapes, naturally he wrote down the "filler names" of my still-unknown artists/groups. "Say, Say baby was sung by The Serenaders in late 1963, and is listed so on a CD.

No. It's from New York, where Clinton was from. Neither the original blue nor the re-pressing orange have the Monarch Delta, nor were they pressed on styrene (as most Monarch pressings were. That label design and font were both used by a couple New York pressing plants during 1962-65. Marton was owned by a New York financier, and located in New York. Not only Clinton and his Parliaments, but also Roy Handy, Tamala Lewis and The Parlettes (Par-Lets) and The Pets were all from The Greater NY Metro Area.

So, you think it's a legit re-issue by the owner of Marton, made for the NS scene? Probably requested by a British dealer on a trip to New York, when he found the original and contacted the owner. Clearly, the new label didn't come from a photocopy of an original 45. It may have come from the original artwork.

Barabara Randolph did okay on "I'm So Thankful", but I was disappointed in it. What I CAN'T figure out, is why Motown didn't put out and plug heavily a Motown artist version of "You Turned My Bitter Into Sweet" (and why they didn't sign Mary Love, Gloria Jones, and Sandy Wynns (Edna Wright), when they signed The Holloway sisters). And The Four Tops' "My Heart Is Calling You" was disappointing, in that it wasn't better than The Magnificents' version. Alice Clark's WB release "You Hit Me Right Where It Hurts" was sung well by Kim Weston, but even that was a bit of a disappointment, in that it wasn't as much better than the WB version by Clark as I'd expected. In fact, I can't remember finding an unreleased Motown recording of an independent label non-Motown recording of a Jobete music song, that was much better. "The Touch of Venus" by Patrice holloway was only about equal to Ed Cobb's independent production of Sandy Wynns' version. I'd like to hear a Funk Brothers' Motown version of Frank Wilson's "Just Call On Me".

My orange boot of Marton 1002 has only M -1002-A and M - 1002 B etched onto the trailer. It has no stamp. I'm not with my 45s now, but, if I'm not mistaken the Roy Handy and Tamala Lewis Marton 45s both have, in addition to the record catalogue number etched in to the runout M-1001-A, M-1001B, M-1002-A. M-1002-B, - they also have the cut numbers A-109-N, A-110-N, A-111-N and A-112-N etched into the runout. There are no stamps on my Marton records, as far as I remember.

I never saw an unissued Motown version of the Tamala Lewis, nor the Roy Handy on Marton, nor The Pets on Carnival, nor any Parliaments demo recordings of songs George Clinton wrote for them while with Motown. However, Don Montgomery (adopted son and nephew of The Vows/Major's/Major IV's Larry Montgomery, told me that he had the Jobete Music acetate of "I Misjudged You" by The Parliaments, that was promised by Miss Ray to George Clinton, to be The Parliaments' first Motown release, but was scratched later, by Berry Gordy, when he closed down Jobete Music's New York office, when Raynoma pressed up Mary Wells' "My Guy" and sold it, and kept the money. "I Misjudged You" was later recorded by The Parliaments and released on Chocolate City Records. We Do know that Alice Clark's WB release was recorded by Kim Weston.

Wasn't the white one also a boot? I don't remember ever seeing ANY white DJs on The Marton label.

The ears don't lie (except when they DO-just not in this case!). So, she IS "Caucasian" after all.

Here's a sale of the record for $24.99 (a good value for a great girl's group sound: https://collectorsfrenzy.com/details/151072368961/Tawny_Von__Last_NightDont_Say_It_Never_Was_Entre_1966_wpicture_postcard The sale includes a postcard with her photo on it, plus the signature of the label owner. I wonder if the photo on the postcard is a bgger version of the one on the stamp?

In the "suits" photo, above, I see what looks to be Little Anthony in the middle. But, I don't see him in the OP's photo. Also, the suits look a bit different. They look lighter in colour in the OP's photo, and the black lapels look thinner and less tapered. I think they may be 2 different groups wearing slightly different suits. Several R&B groups wore suits similar to that during the mid to late '50s. The Flamingos were one. The platters at one time, and several of the New York groups. It's really tough to see who those guys are in the OP's photo, as the view is from the side and the lighting is murky on the three on the right side. Yes, the other photo is The Cadillacs, used for their album.

Here's the original:

Here's the orange boot:

All the boots I know of were the wrong colour. The most common is the orange label. the original was a navy blue. I think there was also a blue boot that was too light (more like powder blue?).

I have a Distants on Thelma with Richard Street's and all the group members' signatures on it. This was his new group, after Otis Williams, Elbridge Bryant and Melvin Franklin left to join Eddie Kendricks and Paul Williams to form The Temptatrions.

She certainly "sounds" "White", especially on the "B" side-not as much on the "A" side. But, as we well know, voices and style of diction can fool you. Priscilla Page being a prime example of "voice style schizophrenia".

I'm sure I've seen a stock copy of it many years ago. But that DOESN'T mean it had a regular commercial press run. That copy was Ron Murphy's. And he got a LOT of press run test records directly from the Detroit pressing plants (that they had kept for many years). Those were usually 2 copies kept by the pressing plant, while the 4 other copies were sent to the record companies. That's how Ron got all those called-back Motown records (including Frank Wilson on Soul). So, there may have been only 6 stockers pressed. But, it seems to me that I've seen multiple stock copies of each of those rare Wingates. So, I'm guessing that all of them were pressed on store stock, with, at least a small press run, locally, in Detroit.

Yes, the label design looks like a Philadelphia pressing plant job. And, because it is a tiny company, it's a LOT more likely that it was a local Philadelphia, Philly Metro Area or South New Jersey label.

I have the Entre record. I bought it in the early-mid '60s. It has no sticker on it. How do you know it is a Pennsylvania label? What are the clues on the record?

The reason it's such a good deal is that nobody knows who Berry GORDON is! Now, maybe a book by Berry Gordy would generate some sales!