Robbk

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.

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).