Robbk

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.

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).

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".

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.

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.

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.

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).

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.

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.

The buyer must get first rights to take over the lease.

Bump up. No one knows anything about this label? Adey? Bob A.? Anyone?

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.

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?

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.

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.

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.

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).

I's not "Northern" sounding, at all. But, "Happy Ghoul Tide" by Ray Oddis (VIP Records), is appropriate for Hallowe'en.

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.

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.

Yes Screamin Jay Hawkins did several others in his drunken session. "Little Demon" comes to mind. Also, "Frenzy". There were several more on the "I Put a Spell On You" LP.

I looked up biographies on Don Davis, and found to my pleasant surprise, that none of them listed him as deceased. Sorry, apparently, I had that very wrong. I remembered a thread we had on Soulful Detroit on which someone had stated that he had been negotiating with Don Davis' son. over the rights to release CDs using some Groovesville master tapes of previously unreleased masters. I guess I just assumed that Don had died, otherwise he would have been negotiating that deal himself. But, I see no reason why he couldn't have delegated that job to his son.

So, the18 months after Sept. 1966, would have taken Ric Tic to about early April, 1968. Solid Hitbound probably shut down a little before then (a few months?). Thus, Davis' comment that he didn't sell out to Wingate makes a little sense. I think Davis may have crossed paths with Wingate after Ric Tic ended. We would have known that Gordy didn't buy out Davis and Taylor's Solid Hitbound Productions or Davis' Groovesville Music, because they weren't absorbed into the Jobete Music or Motown Records catalogue (as were the Golden World/Ric Tic/Myto Music properties). This is very interesting, as Gordy DID buy out Wingate (and through Wingate, Wilbur Golden's Correc-Tone, who had sold out to Wingate), Thelma, Artie Fields(Top Dog), and Harry Balk (most of his local Detroit competition, who also recorded using his own Motown musicians). Only Jack Ashford's Pied Piper Productions and Solid Hitbound/Groovesville remained outside, with Mike Hanks' D-Town/Wheelsville USA being forced out of business.

I had to laugh. On the same page as the $3,000 Ivories, is "Just One Look" by Doris Troy, listed as "Rare Northern Soul". There were 0 bids. Just how rare is it? I must have seen several thousand of those in the 50 years since its release. It was a major hit. It's not even "medium rare", or even "well done". It's more like "scorched".

Golden World was already shut down (1966) when Solid Hitbound Productions ceased operations(1968). guess that Ed Wingate was still operating Ric Tic for a few months, but Don Davis didn't sell the masters to him or to Berry Gordy. The Groovesville masters were Davis' alone, the Revilot/Solid Hit masters were Davis' AND LeBaron Taylors, together. They would have shared the proceeds. I had heard that after Davis' death, his son was approached by would-be buyers of all the masters he still controlled (I guess he had sold some off (to Stax, and later, some to Martin Koppel?).