Robbk

Thanks for clearing that up, Rob. There have been rumours for years about exactly what happened when, and people writing articles stating so-called "facts" that turn out to be inaccurate or downright false. I also read that "You Showed Me How to be Happy" was recorded using The Funk Brothers and The Andantes,

Yes, 127000 should be 1967. The Marvells being from Miami doesn't automatically mean Butane was located in Miami. I have other Butane records that have New York connections. Angie seemed to pick up a Butane record or two, and was, in turn, distributed by Mercury, out of New York. I think I've seen a couple more Corwin-Moers co-written songs on NY labels. Whereas Moers and Cohen are the credits on Detroit labels. I don't remember Corwin co-writing with Moers on a Detroit record. But, no, I have no real evidence that Cohen and Corwin were the same person, other than conjecture, due to the fact that Roy Cohen was known to have written that song, and Corwin's first name also was Roy, and both (people) were listed as co-writers with Moers on the same song. But, I can tell you that there was a plethora of Jews changing their Jewish-sounding names to anglified names in USA and Canada starting around 1960 or so (several in my own family (I am disgusted to admit). MOST of that type of activity occurred throughout the 1960s and died out afterwards. It is interesting that so many of the R&B label owners were Jewish, and so many of the record distributors were, as well. Also, a large portion of the "White" business owners in The Black Ghettos were Jewish (which is why I ended up loving Black-American music (I grew up surrounded by it).

The original writers, Roy Cohen and Tom Moers were Detroit-based songwriters and Moers was a producer. They worked for Sammy Kaplan, whose family owned a record distributorship in Detroit, as well as Danceland Records. Tom Moers was the A&R man and chief producer of the 1960-65 operation of Danceland Records. The first operating period of Danceland Records was 1948-51, owned and operated by Sammy and Ed Kaplan's father, Morris Kaplan. Morris had started the distributorship. Roy Cohen apparently changed his name to Corwin, or used it sometimes, as a "pen name". Ed Kaplan owned MSK, Kool Kat and Village Records, thus, the use of the Kaplan's family music publisher name, Lovelane Music on the Village record, and the adding of Ed Kaplan to the song's list of writers (payment for Kaplan pressing up the record for Moers' group). Ed Kaplan's MSK (Moers/Someone starting with "S"/Kaplan) Records also distributed Detroit's Marquee Records (and Kaplan probably was a part owner in that label, and Kaplan also placed a couple productions on Dearborn Records (a company owned by their family's record and jukebox distributorship). I've always thought that The Chevelles were a New York ( or, at least. an East Coast) group, and their record label, Butane Records, was an East Coast label. I guess that Moers' and Cohen (Corwin) may have produced a session on an East Coast girls' group in New York, and that group was NOT the same group as the Detroit-based Seashells, who clearly were recorded in Detroit, with Mike Terry arranging. The Butane cuts sound like East Coast (probably New York), and the Chevells sound VERY different from The Seashells. The Seashells sounds like late 1965. The Chevells sounds like 1964. Moers had connections to New York. He got some of the '60s Danceland records picked up by New York's Roulette Records for national distribution. So, while he was in New York, dealing with Roulette, he may have done a little recording, using local groups as an outlet for his and Cohen's songs. In addition, New York writer, J.B. Willingham, wrote some other songs that were used on other artists with Butane records, and he had also co-written a couple songs used by Detroit artist on Danceland Records in the early '60s. One of them was a mild "hit" chart record, "Tonight Is Just Another Night" by The Martiniques from 1963. So, Moers and Cohen had New York connections throughout the early '60s/

By the way.... Who currently owns the rights to market VJ's product?

Ja, inderdaad! Maar dit zijn slechts een vertaling, niet mijn eigen woorden! "maar geen valabele overeenkomst hebben met de eigenaar van dit werk!tenzij met een fictieve(nep)overeenkomst." Don't kill the messenger! I work for Dutch Disney Publications, Sanoma Uitgevers. So, I deal with international publishing rights. I am certain that copyright laws allowing 50 years automatic rights (plus, I believe the right to renew for another 25 years) are respected in The Netherlands. Belgian law is another issue. I can't say whether or not they adhere to the European law. I would guess that they should. But if that's the case, why the uncertainty with regard to their actions with their bootleg CDs and vinyl bootlegs?

That's true, but, unlike UK Stateside (I believe), REO did license Canadian productions.

"Say It" by J.J. Barnes was also on REO. Appaently the changeover occurred some time in mid-late 1966.

No! Sonny "DavE" Day was a Pittsburgh "Blue eyed Soul" and Novelty/pop singer, who did much of his recording in New York. Ring-O was a New York label with Al Oliver on A&R. He also recorded the novelty song, "Tarzan", released on Jubilee Records, also recorded in New York. frank Wilson did all his recording as Sonny Daye in Los Angeles. And his voice is much deeper and richer than Sonny Dave Daye's.

I have always read that certain Funk Brothers (James Jamerson, Pistol Allen and a few others "hopped in the van" and drove to Chicago" to record for Carl Davis, on "Higher and Higher" and a few other Jackie Wilson cuts. I think we need to have more clarification here as to just what was recorded at United Sound (perhaps just some overdubbing or late mixing? As far as I remember, most of their work for Carl Davis and Brunswick occurred in Chicago. Of course, starting in early-mid 1965 or so, most of Sonny Sanders' work was done in Chicago. I have read that The Andantes also did some moonlighting in Chicago. There was a LOT of movement back and forth in the music industry between both of those cities. During the early '60s, Motown went to Chicago to have Riley Hampton arrange their strings and other complicated arrangements.

Ha! I should have translated this for you lot, long ago: "an official bootleg- ie the one that this record has been released upon, one that has technically obtained permission from SABAM (if they merely pay SABAM, everything is ok according to them) to press this record, but no valid agreement was made with the owner of this piece, unless it's a fictitious (fake) agreement.. The makers DID NOT make an agreement with the owner, and, thus, the so-called "agreement" is invalid. Thus, even Govaerts admits that it is a bootleg.

it's a mid '70s release. NO WONDER I didn't know about it!

The last line in the 4th stanza, should read: "And I'd "end my life by cut(tin') my wrist. The first 2 lines in the 5th stanza should read: "You speak to me and then I light up like a socket, "You call my name and I come to you like a rocket" Don't forget that there are two different versions: 1) the original Correc-Tone (1962), and SonBert (early1964)/Ric Tic (later1964).

I wonder if they actually paid MCA for the rights for pressing up and selling "Because of You" by Jackie Wilson?

I've never seen another record on Tru-Ba-Dor. But there were other record companies located at that Wyoming Ave. address (but they were all operating in earlier years, rather than concurrently). I don't recognise that music publishing company-so can't track it to an owner (though I can't make out the exact letters). I don't get any clues from producers Shelton and Porter, or Hill or Craig as writer. Some websites say that this was the only record issued on the label, and it was released in 1969. But, the Archer Pressing Plant code shows that it's press run occurred in mid 1968.

I saw a LOT of that issue back in the day. I don't imagine that it would be "rare" now.

Is this an unknown artist, or was the group really called The United Sounds, and they recorded for United Records? I'd have guessed that United Records was just the demo producer, a recording studio. Was there a United Records company in New York that also operated as a recording studio? The demo seems to have been made in New York. Anyone know anything about the artist and production? Sounds like 1967 or 1968.

Duplicate post

Yes, Anderson made a giant Chicago warehouse purchase, and had a LOT of CJ and CJ-distributed labels in quantity.

This cut by Judson Moore, on Chicago Music Bag, is also very nice:

I agree with this, as regards the Al-Tog issue. I've seen scores of them. However, i seen precious few of The Chicago Music Bag issue. THAT should be priced quite a bit higher, I would guess (if there are purists who want the original).

ZTSC 142000 matches with 1969. So, The Chicago Music Bag was 1968, and the Al-Tog was 1969?

Dee Dee Warwick Betty Everett Blinky Williams Baby Washington Tobi Lark Gloria Jones Jackie Verdell Kim Weston Dinah Washington Memphis Minnie Varetta Dillard

I believe I bought the Chicago Music Bag issue in 1968, and the Al-Tog issue in 1970. I'm pretty sure that the Al-Tog was the 2nd issue. It's ZTSC number of 142000 should be traceable to an exact month of pressing. Scot-Tees was The Scott Brothers' publishing. So, I assume they played a big part in AL-Tog Enterprises. Howard Scott produced "Time and Time Again". But, I think I remember Bob A. giving us the lowdown on Al-Tog and Chicago Music Bag's ownership and production staff.

I've seen several '70s bootleg's on a "Wright Sounds" Records (a bootleg label. But the legitimate mid '60s Wright Sounds Records did release the Carol Kay record. That label was owned and run by Charles Wright, out of L.A.

Possibly also light scuffs on the vinyl from solid "dust" particles being rubbed into it by movement of other records/record sleeve against it. It looks bad, but usually doesn't affect the sound quality.