Robbk

It's rarer on store stock than on white DJ. But I've had it with 2 different fonts on store stock.

There are lots of nice and interesting cuts on that CD. Well worth buying for the "history of Detroit Soul fan".

I bought my white DJ issue with black lettering in 1966. So, I know it is original. I'm sure the red writing was on a press run in a different pressing plant, but have no idea why a different colour was used.

Wat bedoel je?

Jazz, Delta Blues, City Blues, Country/Folk Blues, Gospel/Spiritual, '40s/'50s R&B, '60s Soul, Afro-Latin/"Salsa", Keltic(bagpipe(Scots and Bulgarian)/Irish Folk, Ancient Chinese, Classic Japanese, Bluegrass Folk, European Classical, movie and TV themes

You forgot to mention The Sandells from Cleveland, Ohio, as long as you're adding group names that are more than one letter away.

Upon listening to it again, anyone can hear Mike Terry playing bari sax on it. I also think that base line sounds very much like James Jamerson. Guitars are harder to place. I know that Eddie Willis did some moonlighting for Wingate. But, Don Davis played a lot on Wingate's productions (he was also a producer at Golden World).

In Holland, my 45s are stacked on old-fashioned hardwood bookshelves with uniform shelf height of about 15% higher than a 45 (lucky coincidence that my uncle's shelves were perfect for 45s). My LPs are stored in wood cabinets. In USA, my Detroit and Chicago 45s are stored in bookcases in my record room, the remainder (bulk) of my collection is stored in custom-made (movable) shelving, along the walls in walk-in wall-length closets. My LPs are stored in several large credenza cabinets. Yes Rod, this old cheapskate penny pincher actually paid a carpenter to build shelves! Unbelievable, eh?

I've heard from several sources that at least the background tracks were recorded at Golden World, and, I believe that the final vocals were recorded there, as well. Apparently, Stephanye Records was located at Golden World. That was the business address Redd used. Several sources stated that Wingate Gave him an office there (as he also did to George Kerr, and George Clinton. Maltese Records listed their address there, as well. The records were mastered at Columbia, Chicago, and pressed at Columbia Terre Haute (Indiana) (Thus the ZTSC pressing code numbers). I don't know, specifically, who played on that recording. But, I suspect that most of the same Motown "moonlighters" that were playing on most of Golden World's recordings played on this one. The drumming was quite good. So, I suspect it was pistol Allen or Uriel Jones. Benny Benjamin's style is VERY identifiable. In addition to current Motown musicians, former Motown Musicians, such as Don Davis on guitar, Mike Terry (sax), Joe Hunter (piano), George McGregor (drums) and several others.

Interesting that when Clinton decided to record his own group on "Baby That's A Groove" (-a song owned by Gordy's Jobete Music), he changed the title, and gave the publishing rights to Armen Boladian's Bridgeport Music. Of course, with that new, super-funky style, it would never have been recognised by Gordy or any of his staff.

I think it's also interesting that all 3 of Clinton, Redd and Kerr recorded songs they had written for Jobete Music by their own artists (Dolls, Handy, Tamala Lewis, and The Parliaments. Those songs were not released by Motown during the contracted period, and so, these producers were within their rights to do so. I also think that The Parliaments' "That Was My Girl", although published by Wingate's Myto Music, had been written by Clinton in New York's Jobete Office in mid 1964, with The Temptations in mind to record it. But, it hadn't yet been bought by Motown by the time Gordy closed down the office without warning (due to Miss Ray's pressing up "my Guy" and selling it to East Coast distributors). So Clinton used it for his Parliaments with Wingate's Golden World, having The Funk Brothers play on it (as they would otherwise have done with Motown, anyway).

Speaking of Gene Redd Jr. and George Clinton's New York Motown Office crews joining Golden World after Gordy closed down his NY office, George Kerr's NY Jobete crew (including Sidney Barnes) also joined them, with Kerr's Maltese Records being recorded, pressed and distributed by Golden World. Does anyone else here think that maybe Ed Wingate approached all the now unhappy and label-homeless "Detroit-style" producers, offering to give them a Detroit home, after knowing what a good job they did for Motown, and to give Gordy a mild "slap-in-the face"? Maybe his doing that was part of the reason Gordy decided to force him out of the business (make the buyout his only alternative)? I think it may have been enticing to those New York producers, because they had come to like writing/producing/recording in "The Detroit Style", and found an easy way to continue that and have the same Motown musicians record their music by teaming up with Wingate.

Interesting that this Jobete song was placed on Gene Redd's label. I guess because Handy was a George Clinton artist, but Clinton farmed this one to Redd's Stephanye Records (both Clinton and Redd joined Ed Wingate's Golden World after Berry Gordy shut down Jobete Music's New York office in mid/late 1964. Clearly Clinton just wanted to use one of the songs he had sold to Motown (which they hadn't used for release-and per his contract, he could use in an independent outside production (as he had on Handy's and Tamala Lewis' Marton releases)). Interesting that he had Jobete spelt: "Jobette", as Anna Records had done, and a few Tamla misprints had, as well. I wonder if that misspelling was a sneaky way of not cheating, but hiding his action from Berry Gordy? It is also interesting that One of The Holland's and Lamont Dozier also got credit as writers (could that be because the lyrics mention songs written by them?-so that he couldn't be accused of trying to benefit from their success? I seriously doubt that Clinton was sitting together with them at 2648 Grand Blvd. in Detroit. I have no doubt he wrote the song with Handy in mind (as its singer) in 1964, in Jobete's New York office. Although I doubt that there was ever a chance that Handy would have been given a Motown singing artist's contract and recorded in Detroit, Clinton had hoped the song would have been recorded by Motown and become a hit. When that didn't happen, he still thought he could do a good job on it with Handy. It probably ended up on Redd's Stephanye Records, because Wingate didn't want to record Handy and release the record on Golden World (with whom Clinton was working under contract). So, as Clinton's buddy and ex Jobete-NY colleague was also working right there in Wingate's building, and had full control of what was released on his own label, -it ended up coming out on Stephanye.

There were other threads which contained discussions of Johnnie Mae Matthews, Terra Shirma, Ernie Stratton, Fred Saxon, Bob Schwartz, etc. with great information provided by Ron Murphy, Graham, Ralph Terrana, and even Clay MacMurray and others that, unfortunately, were lost, in that forum's format changeover in 2009. I believe that Ron Murphy identified the owner of Enterprise Records and we talked about many of the artists. But, I don't believe that members of The Wonderettes were identified, other than that Rose Saint john sang lead, and it wwas stated that they were a local group which had appeared in local clubs and youth sock hops, and several of our older Detroit members remember having seen adverts for them, and, I think one had seen them. I think he mentioned that there were four girls in the group.

I think that Rose Saint John was the lead singer of The Wonderettes. I believe that they were managed by Bob Schwartz, who was their executive producer, and owner of Ruby Records, and possibly, co-owner of Enterprise Records. Their regular songwriters, along with Schwartz, were "J. Thomas" and "J. Thornton". I wonder if those 2 were 2 more of The Wonderettes? I also suspect that the girls group who backed Calvin Williams on "Lonely You'll Be" were The Wonderettes, as they were listed as backing Johnnie Mae Matthews on that same song, with the same instrumental background. Although there seems to be no Wonderettes' vocal backing track on the released Matthews version, I suspect that an earlier mix did have the same one that backed up Williams, but was removed for Matthews' release (maybe to bring Matthews' vocal and the great instrumental more upfront for a cleaner sound). Then, the credit for The Wonderettes' backing up on the cut was forgotten to be removed. I've never seen any posters or adverts for the group appearing. So, I don't even know how many group members there were. We had some discussion about them on Soulful Detroit Forum when talking about The Enterprise and Ruby labels, and Johnnie Mae Matthews. But, I'm not sure if those old threads survived the website overhaul loss of archives disaster. But, I seem to remember that Ron Murphy and other old-time Detroit music industry veterans DID remember The Wonderettes appearing locally. They definitely existed as a viable local group from about 1965-68. They weren't just a "studio group".

That was completely a New York production. All 3 Hamilton brothers operated out of New York when they weren't in Detroit. Most of Ronny Savoy's cuts were New York productions (MGM and Epic). His Detroit period (with Golden World/Ric Tic/Wingate from 1965/66) was a relatively short period of his career.

Nothing to do with The Fads' song of the same title, as Banks only worked in Philly, and The Fads only in Chicago (and, of course, the writing credits are different). I hadn't heard the Doug Banks song until now.

That was live, rather than just lip-sinking. They did a great job.

Yes, that's the original store stocker.

T.M. Parmalier is a misprint (deliberate or not), and the first issue. Jobete Music was certainly the proper reference, and was likely caught by Motown people, who 'forced" Lebaron Taylor and Don Davis to change it on subsequent press runs. I bought it new, and it first had "T.M. Parmalier." Later, they had "Jobete". I can't imagine why it didn't read Jobete from the start. The song was written by Frank Wilson and Marc Gordon in Los Angeles' Jobete Music Office in 1964, while they were working for Motown. I seem to remember that at least one Motown artist recorded that song.

When I was a youth, back in the early 195os, I used to buy most of my comic books sans cover for 5 cents each (rather than the full retail price of 10 cents). Ten cents was a LOT of money for a little kid, back in those days!

HA! HA! MOST NS records had NO demand from the day of their release! They didn't need a little hole to denote that nobody wanted them anymore.

Wow! Getting Mighty Close is fantastic! Sorry I turned off the radio after 1966. They certainly didn't play much decent Chicago stuff in L.A. (where I was stuck) after 1969, nothing but lousy commercial Chi-Lites.