Everything posted by Robbk
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Has Sandy Golden On Masterpiece Been Booted?
Johnny & Joe ALWAYS worked out of New York. I was in L.A. starting in late 1966. and found a lot of records from the '50s and early '60s, looking through hundreds of thousands of 45s. I don't remember seeing that particular label font and label layout on ANY record (certainly no California record) used until Soussain's boots in the late '70s. I don't remember any "Masterpiece" label from California (only a budget pop label from New York) from the '50s or '60s. That new York label shown above must be from the late '70s. The label in question doesn't look like a California 1960s label to me. I'd guess that it was a late '70s Soussain boot.
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Wayne Champion-"don't Panic Baby"-Chicago's Invictus Records
Thanks. The New Blues was Ted Ashford's band, rather than a background vocal group.
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Rare Lp Tracks
I like "Egyptian Love" best from that LP.
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James Brown Tracks
I never liked James Brown's funk recordings (latest King recordings and Polydor). And I started disliking him even more, after he got in an argument with my parents and insulted them, while they were together on a flight from London to New York. But I did like James Brown and The Famous Flames' recordings with Federal Records as well as his first several King releases. They were R&B group harmony cuts, with a slight Bluesy flavour, similar to The Five Royales' style. In fact, they redid a former big hit by The Five Royales, "Think". I'd bet you'd like some of his earliest recordings, although they certainly didn't have a "Northern Soul" type beat. I especially like "Try Me", "Please, Please, Please", "Good Lovin' ", "This Old Heart", "Think", "I'll Go Crazy".
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Northern Soul Top 500 Time For A Review
I'll bet I've listened to over a million songs in my life since 1950. I'd bet that a LOT more than 500 of those are "Truly Great Records". I'll have to admit that i don't think about all 1,000 or 5,000 or 10,000 of those truly great records every day. So, I might appreciate when someone brings up one that I haven't thought of for maybe 10 or 20 or 30 or even 40 years. then I can go back and listen to it, and get some nice enjoyment and reminiscence. When you are old, and have heard many songs in your life, or met many people in your life, you get busy, and may not have time to think of all of them each day, or even once a month, or even once a year (or even not for a 20 year period). That doesn't mean they weren't great, or even that they didn't have much influence on your life. people are busy with the details in their lives they are confronted with at a given instance. The years fly by like nothing. That is especially true the older one gets. My last 30 or 40 years have flown by like a few weeks. Every year goes by faster than the one before. I appreciate meeting or hearing someone I haven't seen or heard from for many years. the same is true for songs (even on records I have sitting on my shelves, that I haven't heard in 40 or 50 years. I just recently heard a great song I hadn't heard since few months after I bought it in 1956 (ballad side of Robins on Whippet 203). i loved it when I first heard it, and I still do very much. I just, somehow didn't hear it over the years, not on the radio as an oldie, and I just forgot to play it. That doesn't mean it had low quality. I'm sure there will be several recordings on different people's "Top 500" here that I have in my collection, that I haven't played (or, possibly haven't heard) in 10, 20, 30 or 40 years, that I'll be glad to remember and hear again, as well as a few songs I've never even heard (not being involved in The NS Scene).
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Questions, Always Questions.....detroit Related?
The mike Terry Okeh productions had Terry recording the background tracks in Detroit, and also, sometimes recording the vocals in Detroit (Little Foxes-although he brought them in, from Chicago). So, they were either partly or fully "Detroit Records", while Billy Hambric on Drum was not in any way a Detroit record. Luther Ingram on HIB was a Detroit record. His release on Smash was a New York record, despite both having Robert Bateman and Popcorn Wylie work on them.
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Questions, Always Questions.....detroit Related?
It's Detroit related, only in the sense that it was written by Detroit writer, Don Juan Mancha, but while he was in New York. It's Detroit-related as Maxine Brown's ABC song, written by Curtis Mayfield (while he was in New York) is a Chicago-related record (or the same as the Jalynne records with songs written by Curtis Mayfield, but written, produced and recorded in New York).
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Name A Few(All) Of The 60S Dances ?
I think we missed this. "The Popeye" was a dance step based on how the Popeye character (E.C. Segar 1930s-'40s comic strip) moved in his movie cartoons. The "Popeye Waddle" was a variation of that, based on just how he walked in the cartoons. The first record I remember with "The Popeye" mentioned, was "Popeye" by Lamont Dozier on Anna Records, released in early 1961. It was pulled, and re-pressed as "Benny The Skinny Man", due to a pending lawsuit by Segar's lawyers. "The Popeye" was still around in 1962 and even 1963, after being given a boost by The Sherrys on their Philadelphia hit "Pop-Pop-Pop-Pie". Later, More Pop-Eye songs came out, including "The Popeye Waddle".
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Wayne Champion-"don't Panic Baby"-Chicago's Invictus Records
Bump up. At least the DJ who uploaded this song onto You-Tube should be able to post a label scan and provide some label information, and possibly answers to some of my questions.
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Questions, Always Questions.....detroit Related?
Don Juan Mancha stated in an interview that he spent some months working in New York in the mid '60s, and that he wrote and produced and recorded the 2 songs on Billy Hambric's Drum Records release while in New York. I believe that Mancha used Richard Tee's band to record them. Drum was financed by a New York financier, and, thus, was a New York label. Mancha later moved to Chicago, but bounced between Chicago and Detroit to work on different recording projects.
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Wayne Champion-"don't Panic Baby"-Chicago's Invictus Records
According to Davie Gordon (on a 2006 SDF thread), - The label was run by J B Kargman, The Blackstones' manager who went on to become the manager of Baby Huey and The Babysitters. And, their records were recorded (and pressed?) at Stereo Sonic Studios (main studio used by USA Records). There was a 3rd release on Chicago's Invictus Records, by Champion, which was a Xmas record. A 4th release was a "Garage Band" record by The Blackstones.
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Wayne Champion-"don't Panic Baby"-Chicago's Invictus Records
Anyone have a label scan to post here, and also can give us any information about Chicago's Invictus Records. I know that they were in operation at least in 1965 and 1966, and Jazz musician, Ted Ashford, was Champion's producer. I'd like to know who owned the label, its producers, arrangers, songwriters, other artists and releases, recording studios and pressing plants used. I don't remember hearing Champion's "Don't Panic Baby"/"Yes" or "Boogaloo News" played on WVON (or any other radio station).
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Label Design = Other Release Dates
They were pressed in different pressing plants in different parts of USA. The J.J. Jackson on the left looks like an Eastern US pressing (RCA Pennsylvania?), on the right a styrene pressing from Monarch pressing plant in L.A. The Cameo record seem to me one from The Midwest, and one from The East Coast. They all look to be pressings that were out during the original run of the record, first or possibly 2nd pressings, but all during the time the records were charting.
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"switch Around" Acetate
The acetate is most likely from New York, as Rose Marie McCoy worked out of New York. She was part of gene Redd Jr.'s writing team, as was Randall Stewart. So, it's nt surprising that Randall Stewart ended up using the same tune for "Left Out". He was also working for Old Town Records at the time, thus Old Town's Maureen Music got the publishing.
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Own Your Own Record Shop
The buyer must get first rights to take over the lease.
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Rochelles On Spacey Records-Same Group That Backed Gino Washington?
Bump up. No one knows anything about this label? Adey? Bob A.? Anyone?
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Bobby Byrd - I'm Lonely
Shouldn't a Mercury record from that period have been pressed both on Stylene at Monarch in L.A. and also on vinyl at Midwestern and Eastern plants? I'm pretty sure I've seen a fair amount of both, but a lot more on styrene than vinyl.
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Rochelles On Spacey Records-Same Group That Backed Gino Washington?
The fast side has a Detroit 1963 style. Here's a link to an audio/video: I'd like to know if people think this is a different New York group, or they were the same Detroit girls who backed Gino Washington in his "Review" (regular local act). Was there documentation of a New York group during 1963-64, and was there evidence that The Rochelles that backed Gino also appeared and recorded as a separate group?
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Rochelles On Spacey Records-Same Group That Backed Gino Washington?
I think Spacey Records were pressed in New York. But, I'd like to know if this was the same Detroit female group that backed Gino Washington on his 1964 Amon and Wand releases on sessions recorded in Detroit. The record label design is similar to Harry Balk's Twirl Records design from 1964, and his writers and artists home town was Detroit, although he often took his artists to New York to record them, and had the records pressed there. I'd still refer to Twirl as a Detroit label. I wonder if "Spacey" had a similar situation. Was there a different "Rochelles" female group in New York, at the very same time(1963-64)? It's really not possible to determine by their sound, if they are the same people, as the Spacey cuts have a distinctive lead singer, but all The Rochelles sang in the background on Gino's cuts. On the You-Tube page where it is uploaded, the record is listed as released in 1964. The uptempo side. "Teardrops" sounds like 1964, or possibly 1963. The ballad side is undatable from listening. Any help would be appreciated.
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J Mcfarland Issue - Rarity
Waiting to get a great deal (overpayment) to maximise the return, or for someone who wants it so badly, he can get some record back in trade that he can't get any other way.
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J Mcfarland Issue - Rarity
John Anderson probably brought a box of store stockers to The UK. I lived in L.A. from 1966-1983, and NEVER saw a store stocker in a shop or even in a junk store, furiture store or thrift shop (or at a party, or in anyone's collection for that matter). I saw many white DJs. The store stockers probably never left distributors' warehouses, and never saw the light of day in USA.
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Marian Love
Good guess, Roburt. That's the only song by Bailey that I know of published by Jobete Music. So, like you, I'd guess that he wrote it as part of Jobete's New York staff. A lot of New York's prominent Soul music writers moved in the same circles as George Kerr and Sidney Barnes, George Clinton and Gene Redd, Jr. (J.J. Jackson, Juggy Murray, Moe Bailey).
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Doing A Small Ns Party For Halloween - Need Themed Songs
I's not "Northern" sounding, at all. But, "Happy Ghoul Tide" by Ray Oddis (VIP Records), is appropriate for Hallowe'en.
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Taurus And Leo.. I Aint Playing Baby... Boot Copy ?
I've never heard of a boot of that record. It wasn't rare. I wouldn't guess there has ever been a reason to boot it. It's been pressed in different plants and independently, and under Atlantic/Atco distribution, and so has very different label design, plastic used, etc. All are likely legit.
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J Mcfarland Issue - Rarity
I've seen maybe 15-20 white demos over the years I searched for records, since its issue (1966-1983). I've NEVER SEEN a stock issue in circulation. I'd guess that the stock issue is MUCH, MUCH rarer.