Robbk

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?).

Don is deceased. His son inherited the master. But I don't know whether or not he sold off all or part of his father's master tapes.

Edna McGriff had a lot of songs released that had a male harmony group backing her up. those are very desirable to the DooWop/group Harmony R&B collectors.

Swifty, -given those prices you listed, I think it would have been reasonable for you to have placed a minimum bid level on them that would have been at LEAST 2-3 times the price you received. Are you not allowed to list a bid minimum?

Both are very nice. I'd use both for my records on those labels.

I've always heard that all those '70s Harthon re-issues were legitimate re-issues from Harthon's owners. Is that not so?

Maybe we could also have a Leiber & Stoller Productions sleeve for Daisy and Tiger, Red Bird and Blue Cat records. Then, I could take all my US Red Birds out of the UK Red Bird sleeves I've accumulated. I'd also like sleeves for Kent Records, so I can take them out of the old Modern Records sleeves, and Money Records for Cash and Money records. We also need company sleeves for Keen Records, and SAR Records for SAR/Derby records, also Dig Records, United and States Records, Lenox Records, BobDan Productions for Red Robin/Holiday/Vest/Everlast/Fury/Fire etc., Sue Records for Sue/Symbol/Eastern/Broadway/Crackerjack/AFO Records, Highland Records, Dore Records, Flip Records, Music City Records, Ebb Records, Arvee Records, Bruce Records, Hull Records for Hull and Mascot, Glory Records, Recorded in Hollywood Records, Hollywood Records, Swing Time Records, Leo Austell Productions for Renee/Sta-Set/Mar-Jan/Vick/Conduc/Jerhart/Toi/Big 3/Hawk/Toi, Marvello Records,

I have all my Motown and Tamla 45s in Motown and Tamla sleeves, and all my hundreds of other Motown 45s in generic Motown sleeves. I'd like special Gordy, Soul, VIP, Miracle and Mel-O-Dy sleeves. I'd also like Anna, Harvey and Tri-Phi Record Co. sleeves. Also Check-Mate Records (Typical Chess Records generic style). I'd like Golden World and Ric Tic Record Co. sleeves for Golden World/Ric Tic/Wingate/JW/20 Grand/Maltese/Stephanye/Impact/Inferno/Volkano, etc., Solid Hitbound Productions covers for my Revilot/Groovesville/Solid Hit/A Go Go/Red Cap/La Salle/Brute, etc. Thelma Record Co. covers for my DaCo/Thelma/GeGe/K.O. records, Correc-Tone Record Co. covers for my Correc-Tone/Son Bert/Hit/Hit Productions Records, D-Town Record Corp. for my MAH's/D-Town/Wheelsville USA/Wheel City/USD/MRC/We 3/Tuba/Arc Lark, etc. HOB Record Productions for my House of Beauty/Spartan/Starmaker/Soul records. Mickay's Record Co. for my Mickay's and Ring records. Pied Piper Productions for all their non-RCA/GWP releases Fortune Records, JVB Productions for my JVB, Battle and Von records. Robert West Productions for my Kudo/Silhouette/Flick/Bumble Bee/Contour and Lupine records. Johnnie Mae Matthews Productions for my Northern/Reel/Audrey/Art/Northern Del-La records Ollie McLaughlin Productions for my Karen/Carla/Moira/Ruth records Dave Hamilton Productions for my Topper/Temple/TLC records DJR Productions for my Riley's/Diamond Jim/Big D records Carrie Record Prod. for my Carrie/RiCare/Staff/Lanrod and Arnold records. LaBeat Record Prod. for my LaBeat/Mary Jane/Cool School records. Magic City Records, Groove City Records. Palmer/Soulhawk/Pamline Records. Sidra Prod. for my Sidra, W.I.G. and Drew Records (which can also be in those already made (counterfeit) Drew covers. Chex Records for my Chex/Volume/Voice/Spin/Astronaut/Chrysler/Poptone records. Danceland Records, Lando Records for my Lando and Nu-Sound records. Hi-Lite Records for my Hi-Lite/REM/Pillar records, Twirl/Storm Records. Non-Detroit: United Record Distributors for my One-Derful/Mar-V-Lus/M-Pac/Toddlin' Town/Midas/Kellmac records, Zodiac Records for Zodiac/Aquarius/Duo records, St. Lawrence and Satellite Records, Cortland Records for my Cortland/Witch/Ermine records, Parrot Records for my Parrot/Blue Lake records, Chance Records for my Chance/Sabre Records, Old Town Records Corp., Apollo Records, Savoy Records, Prestige Records, Tuff Records, Fantasy/Galaxy Records, Randee/Markie Records, Mel London Productions for my Chief/Profile/Age/Starville/Tamboo records, DM(Daniels/Moore) Productions for my Bright Star/4 Brothers/JadanDan-Dy/Hit Sound/Chi-City/All Star/Ambassador records, Master Key Productions for all my Master Key and Key-Lock-related labels, Giant Records, Daran Records, Salem/Nation Records.

Yes. All of the cuts on Anthony Renfro's Renfro Records were recorded in L.A.

"I Can't Hear You" by Betty Everett.

I find it interesting that Jackie Wilson's "Am I The Man" sounds the most like Detroit and Wilson's Berry Gordy songs, than any other song he sang after Gordy broke off working with Nat Tarnopol, up until Tarnopol connected with Carl Davis to produce him.

Probably New York. Weren't The Hamilton Brothers working in New York at that time? They seem to all have been there early in their careers. Although they were born and raised in Detroit, it seems that they had moved to New York to work as songwriters. I would guess that Al (Kent) seems to have had his first re-connection with Detroit (and Berry Gordy) in singing one of Gordy's songs ("That's Why I Love You so") while recording for Chess records, while Gordy's writing partners (sisters Gwen's and Anna's and partner Roquel "Billy" Davis' record label, Anna Records, was distributed by Chess, and Berry's group, The Miracles, were Chess artists. Berry Gordy was writing songs for several other Chess artists at the time (Harvey Fuqua, Etta James, Penny & Ekkos). Ronnie Savoy (Eugene (Ronnie) Hamilton, was working out of New York then. Bob Hamilton(AKA Rob Reeco), who worked as a songwriter for Motown in the early '60s, may have been in Detroit or New York at that time. I don't remember seeing his name on record credits in the late '50s. They seem to have returned to Detroit in the mid '60s. I've never seen an Al Kent credit on a Motown record (unlike Bob Hamilton). Clearly, Al Kent started working for Ed Wingate in 1964 or 1965. Wingate's early Golden World and Ric Tic productions (1962-to early 1964 ) were produced in New York. That may be where he met Al Kent and Ronnie Savoy. Bob may have joined them at Wingates' labels in 1964, moving over from Motown, seeing more opportunity for himself there.

I think he was from The East Coast. He sang "I'm a Walkin' For JFK, which charted in some cities in 1962, releases on Cameo-Parkway's Fairmount subsidiary.

On my original Brunwick Jackie Wilson, only the name Hamilton appears as writer. The addition of King may just have been a mistake on the Coral pressing. I've never seen the name King added on any other release.

Clearly it is from 1972 or after.

I started listening to my parents' Jazz, Swing and Blues and R & B 78s around 1952. They started buying records for me in 1953. I started buying for myself in 1955, from record shop bargain bins and thrift and junk stores. I was still buying Black American artists' records in the early and early/mid '60s when R&B transitioned to Soul music. So, I was in on its beginning. I was in my late teens when Soul was starting. If Northern Soul started in 1970, I was 24 when the scene started. I was about 30 when first contacted for records by a Brit.

I have a heard time imagining that both Barbara Acklin's (Chicago production) and Little Johnny Taylor's West Coast production) were originally released on the same local label. That has to be a re-issue label (and I'm skeptical that its owner actually paid the rights holders for the rights to issue records using those recordings.

Yes, the white issues of Instant Heartbreak are promos, and the star indicates "plug side". I've been seeing Drew records since their start, and only seen them in plain white, plain brown or Laurie sleeves. That Drew sleeve was clearly made after 2000 AD, by a fan/ I've never seen it in my 47 years of looking at 45s since Drew was started.

I've never seen it. But it looks like a '70s label style. It definitely looks like a Chicago pressing. But doesn't look like it's connected to Carl Davis' Dakar Records. Could this have been released in 1974? Wasn't Davis' Dakar still operating in 1974? I doubt that a second, separate Dakar records would have operated at the same time in the same city. Could it have been a special pressing that Davis' Dakar made for La Cade, before they decide to press it up on a label with their own name?

I agree with this. I think The Professionals' lead is NOT Steve Mancha.

Popcorn Wylie left Motown in spring 1962, to join Robert Bateman and Sonny Sanders at Wilbur Golden's Correc-Tone Records. He had recorded with Johnnie Mae Matthews' Northern Records in late 1959/beginning of 1960, just before changing from a part-timer to a full-timer with Motown. "But the phrase Northern Soul wasn't even in place until the early 70's". So true. Those 2 English words probably NEVER appeared adjacent to each other (in ANY context) during the early 1960s. "Just finished a book on The Supremes by Mark Ribowsky in which he states that Popcorn Wylie left Motown (early 60's) to join a label called Northern Soul!" People who write books should really do extensive research and editing before releasing books or so-called, "informative" literature of any kind. I've read a lot of inaccurate material and a lot of nonsense in recent years. A lot of drivel turns to would-be "substantiated" "information" on The Internet. People shouldn't use Wikipedia as an "authority".

Male: Ray Pollard Rudy West Sollie McElroy Nat King Cole Willie Winfield Female: Dee Dee Warwick Baby Washington Darlene Love Barbara Green Mary Wells

Trudel seems to have been an L.A. label. So, I would guess that The Phonetics also came from there. The owners seem to have been Jack (Jac) Brown, Hankins and Gildon. Willie Hutch seems to have run the sessions, and done a lot of the writing.