Robbk

It was a VERY common record. No one would buy it as a boot, when they could get an original US copy for a few Pounds.

I seem to remember vinyl pressing of all 5 releases pressed at RCA Midwest or RCA Pennsylvania. with Styrene pressings of all being pressed at Monarch.

I've seen vinyl pressings of "If This Is Love".

We should also do Chicago, Cleveland, Washington, D.C., Boston, Baltimore, Milwaukee, St. Louis. Cincinnati, Columbus, Pittsburgh, Buffalo, Miami, Atlanta, New Orleans, Los Angeles, San Francisco Bay Area, Seattle, Houston, Denver, Indianapolis, Louisville, Minneapolis/St. Paul, Memphis, Nashville, Toronto, Montréal, Vancouver, and, should we do Winnipeg as well?

I left off all those labels that were already listed above my post. We need an East Coast expert on this. I'm weak on East Coast and Southern USA as i lived in Chicago, L.A. and San Francisco BayArea. So, I'm good with Midwest (Chicago, Detroit, Milwaukee, St. Louis, Indiana), and California, but weak on East Coast. Bob A, can help.

Ha! Ha! And I probably forgot another 20 labels that were co-owned by Dick Clark!

Swan, Arlen, Gina, Crimson, Lost Nite, Gotham, Twentieth Century, V-Tone, Len, Heritage, Sheryl, Winchester, Goodway, Pageant, Big, Cheltenham, Conlo (both Philadelphia and Chicago), Philtown, Newtown, New Art, Nicetown, New Time, Top and Bottom, Grand, Mutual, Darryl, Bacon Fat, Don Dee, Craig, Pam, Val-ue, Open, Philly Sounds, Lebby, Cotton, Casino, Priority, Crusader, Show Time, Villa, Pee Vee, Jason Scott, Frantic, Party Time, Nico, Bardell, Roberts, JJ, Penntowne, Olympia, Chalom, Kayden, Maycon, I-D-B, Phil-LA of Soul, Roc-Ker, Vent, Cross Fire, Bank, Excel, Chancellor, Hunt, Virt-ue Del Val? Slide, Lorraine (Reading, PA) Near Philadelphia Tally-Ho(Camden, NJ) Phil. Metro

Not that I know. They were distributed by Cameo-Parkway for some years, and were sold in Cameo-Parkway jackets.

Nice find. Some scratchiness. still, I think it will go somewhat above the US $4,050 it is as of now.

D. Peoples' songs are certainly listed on Richard Parker's BMI list. I second that Parker lived in Chicago. He may have come to L.A. in 1965 because VJ started a 2nd office there, run by Randy Wood, and started producing there. He went there to help with production (Fred Hughes). He must have worked on those projects with Modern Records and Melic records ("Stop The Music" by Johnny Wesley) as a free lancer.

So, it appears that Parker didn't sell half the rights to Brooks for that release. Well, VJ wasn't around to sue in 1968. Who owned Conrad Music at that time? VJ International?-who were leasing out their recordings to oldies labels?

Pop music can't be what's popular at the time, as that keeps changing. Pop music is bland music from all eras, that is produced to try to reach the widest audience, so is "watered down" to be "palatable" to as many people from all walks of life, as possible. Pat Boone singing "Tutti Frutti" is pop. little Richard singing it is not, regardless of how many millions of sales it got.

Yes. I wonder who D. Brooks was. Surely not pop singer Donny Brooks. Barrett Strong co-wrote "I Should Have Treated You Right". I wonder if Cal Carter and Richard Parker, and Barrett Strong were all at the session along with Bunky? I never asked him, as while he had the office suites next to us (Airwave Records) for 5 years, I didn't know that he was the producer. I read that later, after I left the Record business.

On my record he's shown as the only writer. Did Barbara co-write it? I've read that Bunky Sheppard was the producer, and the session run at Universal. I would have guessed that Richard Parker was involved in the recording session. i know he also wrote "A Lover's Plea" and Our Love Is No Secret Now".

Yes, I just meant that they didn't buy houses or rent apartments there (in other words, uproot themselves from Chicago) like The Parliaments left New York to live in apartments in Detroit. Now I remember that Larry wrote several of the songs, but Don always talked him up so much as the "leader" of the group that I confused that. I guess he meant "creative leader (e.g. songwriter).

Not my cup o' tea, especially with that organ in there. I've never seen a stock copy. I'd bet it only ever got pressed as white DJ.

People get the two separate, completely unrelated groups mixed up because George Motola's L.A. group were from L.A, and The Chicago Vows/Major's/Majors/Major IV ended up recording last, for an L.A. label (Venture Records). But, the 2 groups had no connection. The L.A. Vows were formed by James Moore, and also had Ralph Chestnut (Morris Chestnut's cousin) in the group, as well as Helen Simpson (who led on "I Wanna Chance") and later married Moore, and, I believe that her brother (also named Simpson) was in the group at one time, as was Morris Chestnut, and they had a few more members at other times (from L.A.). We had a complete list on a Soulful Detroit thread, but I can't find it now. The Chicago group was led by Larry Montgomery, and also included Burl(Berl) Bynum , Lawrence Bibbs and Joe "Fuzzy" Buckner. They had a couple later members, Kirk Davis, and a guy named Lester. We had a few threads on Soulful Detroit (which I can't now find). Larry's nephew (adopted son) is a good friend of mine. He knew all the group members. They recorded for Ran-Dee Records, and Leo Austell's and Bob Lee's Sta-Set Records as The Vows, Bob Lee's Big 3 Records as The Major's, and Mickey Stevenson's Venture Records as The Majors and The Major IV. They never lived in L.A., but only recorded there for Venture. Ruth Moore was their manager. Bob A has a great interview with Vows/Major's members. They also sang backgrounds on several Chicago and a few Detroit recording sessions of famous artists.

I've never seen the Weston Prim, even on white DJ. I wonder if it was ever pressed at all?

The Sta-Set and Big 3 group is a Chicago group who were also known as The Major's, and who later became The Majors and Major IV on Mickey Stevenson's Venture Records. Richard Parker worked in Chicago with Mercury/Philips and VJ, worked in Detroit with Ric Tic (Golden World), and (I guess) worked in L.A. at least. for VJ.

Was that Jimmy Norman the same one who worked out of L.A. during the 1960s with H.B. Barnum? The time periods would have coincided.

I think I've seen the white DJ of this before. But it must be dead rare. It, doesn't show up on any Brent discography I've seen. What is the catalogue number?

Ady- would you like me to send you 300 dpi scans?

I have the stock issue of the Ronnie White. It's the only one I've ever seen, despite having seen many white DJ copies. Here are the scans:

Finfer was a partner in Jamie/Guyden records, as well.