Robbk

My original has Delta # 56960 and 56960-X, from Monarch's original press run in 1964.

Here is a You-Tube comment by the sister of one of The Summits (Melanie Lockhart), after she found out that the backing track was used for The Intensions' record" "Hi. I'm Mauriuz's sister, Melanie. My father just told me about the recording by the Intentions after another member of the Summits arrived back from Las Vegas. Boy was he angry! He came to find out, while out there, that Redmon had used the backing from this song. My father went on to say that THe Intentions used the track of the song, while the Summits recorded this very song, with the band. This goes to show what happens when studios have ownership of music. So..no we have NO relation to 'em."

I concur. The font definitely looks like a '70s font. That font just didn't exist in Detroit pressing plants in the early 1960s. My guess is that it's a '70s boot, or, possibly (but a lot less likely), a legitimate re-issue, with some participation by the original rights holder.

I've read several times (and from some sources from that time-including Ron Murphy)-that The Taylor Tones were Sherri Taylor and her mother. I DO agree that the C & T record was her first (about 1959 (before Motown). The label format and style is similar to those used for Robert West's labels in 1958-59 (and was never used again). The sound is older, as well. Furthermore, i think I got my own copy before 1962.

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?