Robbk

That James Hendrix was a Reverend at a church in I've never seen it, either. I wonder if it was ever pressed up? I read that this was Edward Hamilton and his NEW Arabians, after his old group broke up. Interesting that it came out on a New York label, but the publishing went to Arman Boladian (Bridgeport Music) rather than James Hendrix. I believe that The Arabians two cuts released on Staff Records came out before this record (but, they all might have been recorded in the same session. McKinley Jackson arranged all 4 cuts.

As far as instrumental versions go, The Ramsey Lewis Trio's is quite good, as well.

Probably none that were ever released (if any were cut). Her recordings for Correc-Tone were made in Detroit (Produced in mid 1962 by Robert Bateman, and recorded in Correc-Tone's recording studio that Bateman had helped design and build. Wilbur(t) Golden leased them to Time(Brent) Records in New York. Her 2 Sahara Records cuts may have been recorded in Detroit "I Don't Care" (Bateman at Correc-Tone in mid 1962), and New York, "Heartbreak City", (a song written by New York writing team, Al Cleveland and Arthur Crier), in a session run by Bill Ramal (at least several if not many weeks later)-. This seems to have been leased by Bateman to Morty Wilson's Sahara Records(New York), and distributed by New York's I.P.G. I doubt that Bateman gave any money he received to Wilbur(t) Golden, Clearly, "I Don't Care" was a Correc-Tone song (with Sonny Sanders and Willie Harbert as writers. I don't know why Jobete Music got a cut of the publishing. In 1963, Marva stayed in New York, recording for City Records (co-owned by Julius Dixon?), and then in 1964-65 for United Artists in New York. I don't know of ANY of her recordings being produced in Pittsburgh.

Here are some early mid 1960s sleeves from the best music store in southern Alberta, Saskatchewan and Manitoba during that period:

Harvey 122-Keith (Stacy Adams) Moss-"Satisfaction Guaranteed"/River of Love"

I meant "copies". I have no sense of humour (despite being a comedy writer).

On Duke Browner's Bonnie Records out of Detroit? I'd love to know about those. I hadn't heard about any others. Can we see a list with catalogue numbers?

Gerry and The Pacemakers' "I'll Be There"--R&B version by The Uptones-1964. Chad & Jeremy's "Willow Weep For Me"-R&B version by The Barons (Roger Craton (Lee Rogers) lead)-1959, The Beatles "Devil In Her Heart" -"Devil In His Heart"-The Donays-1962

Yes. Definitely a boot. In all my years collecting on both continents, I've never seen that pressing. Not a font that any Mayfield or Curtom label ever used on any press run.

I don't know. But it's quite rare. I'd guess no more than 500.

Yes, it's a US Boot from the early 1980s.

Diane & Anita were actually Toni Wine and Carol Baer Sager. They wrote the words. The music is a classical piece.

Yes. To hold a steady stick in one's 80s is not easy to do. I can't do it in my mid 60s and I've never drunk much alcohol and don't have Parkinson's Disease.

I would guess that Mike Terry ran that session in Detroit, rather than going to New York to do it. In the Little Foxes and Johnny Robinson cuts (more so in The little Foxes) I hear specific Detroit session players. In The Sandra Phillips, I can't really pick out any, but it sounds somewhat like several Detroit tracks. My guess is that Mike Terry and Don Mancha created Detnew productions to work on contracted independent productions for major labels, and worked on The Little Foxes, Johnny Robinson and Sandra Phillips on a contract with Okeh Records. The Little Foxes were from Chicago, Phillips from new York, and johnny Robinson through Okeh's NY office (he was produced by Ted Cooper before). Bridges, Knight and Eaton also worked with Mike Terry for Columbia/Epic/Okeh for Maxine Brown's Epic album and singles.

Was "Lonely Boy" a Jobete Music published song?

I take it that this was recorded during her contract with Okeh Records. It sounds about that time, musically.

Catron invited Mike Hanks to come to Chicago to work on her Katron/Checker and USA records. So, I would say that Geraldine Hunt's recordings and releases shouldn't count AT ALL as being "Detroit" records. The background tracks were also recorded in Chicago. On the other hand, the ex-Versalettes/Trinkets, now as The little Foxes, recorded their vocals in Detroit, and their instrumentals were also recorded in Detroit with Mike Terry running the sessions. So, clearly that Okeh release (like Johnny Robinson) should be considered a Detroit record.

Could those be the same Perfections who recorded for Tri-City Records?

As far as I know "Detnew" Music stood for "Detroit New" and was a Detroit production team (Don Juan Mancha, Freddie Gorman, Mike Terry, Mikki Farrow) also produced The Little Foxes on Okeh, also recorded in Detroit. So, The Johnny Robinson project at Mercury could have been Bateman's 3rd Mercury production, despite never making it to vinyl.

I take it that these weren't the same Chips who recorded "Rubber Biscuit" in 1957.

I'll stick by my statement that Mercury Records never took Robert Bateman on as staff. He was an independent contractor that, by contract, took on the production of three recording projects of artists signed to Mercury Records. He wasn't hired on staff as a producer or A&R man, like he was at Motown and Correc-Tone Records, and Van McCoy was taken on at Columbia and Gary Paxton and Dave Axelrod were at Capitol, and Carl Davis was at Okeh and Brunswick, and Billy Davis was at Chess. At the same time as he worked for Mercury, he was working on several other projects for major and indie labels. I'm guessing that Philips 40338, "Practice What You've Been Preachin' "/"No Matter What You Do To Me" by The La Vettes is one of the three. I assume that The Fashioneers on Blue Rock is the second. But, I can't figure out what the 3rd is. Does anyone know of a 3rd Mercury release with Bob Bateman involvement? Maybe a Lew Courtney record?

Bateman never worked for Mercury Records. He was an independent producer, working almost exclusively in New York in 1965 and 1966 (still producing a couple records in Detroit). He had a couple of his productions leased to Mercury affiliates during those years. He had some of his NY productions on many, many labels (20th Century Fox, ABC, Philips, Smash, Capitol, Atlantic, MGM, Riverside, Buddah, etc.). He left Motown in spring 1962, when Wilbur Golden started Correc-Tone Records, and enticed some Motowners to "jump ship" to his new label. Mickey Stevenson, lamont Dozier, The Holland Brothers, Popcorn Wylie, Sonny Sanders and the rest of The Satintones were ready to move. But Berry Gordy persuaded HDH and Stevenson to stay by buying them new cars and offering them high regular salaries. His offers to Bateman, Sanders and Wylie were too low to keep them, so they jumped (not knowing that the others were staying). Already within 6 months, Golden was running out of cash, having put out a lot to have Bateman build him a new recording studio, and also paying for recording and pressing of Correc-Tone's and SonBert's first few releases. So, Golden sent Bateman to New York to try to lease some of their Correc-Tone recordings and sell publishing to some of their songs. Bateman spent increasingly more time in New York than Detroit, while selling off and leasing Correc-Tone product in the remainder of 1962 and throughout 1963, also working on his own independent productions there, as Golden didn't have the money to pay him his salary. Bateman ended up staying permanently in New York, but returning to Detroit for specific productions (Luther Ingram on HIB, Mary Wells 20th Century Fox recordings, etc. By early 1964, Bateman had split from Golden and Correc-Tone, and become an independent NY producer.

No connection, I would guess. Detroit's Fabulous Playboys became The (New) Falcons. So their name was fair game to be used by new groups in cities other than Detroit. I suspect that Thomas East was a Chicagoan, and his fellow group members were also all Chicagoans, much younger than any of The Fabulous Playboys, who started singing in the early 1950s.

No doubt! They both lived in and worked out of New York. 1970 was only 4 years after his Tarx release.

I've listened to both several times. I don't believe that's the same backing track-but it's the same song musically. It also reminds me a LOT like a song by The Vibrations on Checker (was it "Dancin' Danny"?) The Summits sound a little like The Intensions. But I don't believe they have all the same members. I don't think that the lead singers are the same. Weren't The Mandells on Moneytown the same Mandells on Trans World Sound? I don't think they were The Summits or The Intensions. Bob A. should be able to clear this up.