Robbk

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.

Bob A. will know the answer to that. The Intensions and Mandells on Moneytown were, at least connected by working with George Redmon. But, I didn't think they were the same group.

Roddie Joy-"Come Back Baby"

That's Diane talking about Flo, NOT Flo mentioning herself. Shouldn't count, I would think.

I can't get onto the site to listen to the interview, as I don't have a valid UK postcode. Don't like us foreigners, eh? And to think that I had a cousin who was an MP, and my grandfather was born in The East End, and watched the parade for Queen Victoria's Diamond Jubilee in 1897! And when I was a young kid, OUR national anthem was "God Save The King", and our flag had The Union Jack on it! Bah! Humbug!

Billy Hambric was a New York artist who was recorded by Bobby Robinson's Fury Records, in addition to Don Juan Mancha on Drum records, when the latter was working in New York, looking for a record deal. Ronnie Forte was a stage name for Ronnie McCain, who recorded for Ben Smith's Triode Records. McCain (Forte) was one of Smith's main artists, and a partner of his in Benron Music. They worked out of New York in the mid 1960s.

Ive had both white DJ versions, with and without lines, but only had the store stocker WITH the lines.

Ha! Ha! Ha! Je moet een grapje maken! Rod heeft genoeg problemen met de Konings Engels! My comment was to address Rod's comment: "Italy is shaped like a boot. I failed Geography "O" level. Not keen on pasta. Nothing constructive to add really. More a stream of consciousness......" - which ( as was his purpose-whatever that be) had not even a remote connection to this thread.

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.