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Robbk

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Everything posted by Robbk

  1. Robbk
    I agree. It may have been a studio demo or acetate. Many times, these have no artist name listed.
  2. Robbk
    That's a strange way of referring to what actually happened. Satellite Records wad the first name for Stax Records. The name changeover occurred before Volt Records was started up. So, the Volt issue was merely a re-issue of the Satellite issue, on a different label of the Satellite/Stax/Volt/Enterprise/etc. family of labels.
  3. Robbk
    For all we know, it could have been an unknown group on a studio demo, and was just given a false name. That situation has occurred many times on the scene. Bonnyvetts is a very strange name for an American girls group.
  4. Robbk
    I think that staggered V.I.P. was a misprint, and the real design intended was straight vertical. I've seen the vertical on some other WDJ issues.
  5. Robbk
    And Stevie is at LEAST 16 or 17 here. So Jamerson played upright bass fiddle some years after "the early days of Motown".
  6. Robbk
    It sounds nice and Soulful to me. I never heard it or heard of it back in the day. Bur, i have heard of it from the Northern Soul crowd over the past 10 years or so. What label was it on? Who produced it, wrote it, arranged it? Anyone know who the group members were? Where they were from? Can we have a label scan?
  7. Robbk
    No. It seems to be the same issue as the scan above, from Popsike, with the straddled V.I.P. Here is mine: By rob_k at 2011-05-21
  8. Robbk
    My Downbeats' White DJ is an RCA (Midwest) pressing,- K4M-4907-1.
  9. Robbk
    The Taylor Tones on C & T is supposed to be just Sherri Taylor and her mother. But, I've also heard that Sherri's sister (or cousin?) was also in the group.
  10. Robbk
    It's also on Kent's recent release, "Truly Yours" by The Spinners.
  11. Robbk
    Tom DePierro and I found a Jobete Music Acetate which was titled: "Come On Back To Me Baby". I have seen it listed as "Come On Back To Me Baby (Forever In My Heat)" and simply, "Forever In My Heart". It was one of those Jobete Music songs with several working titles.
  12. Robbk
    I'd like to see a "stationary" scan - so I can read the credits. The split second on the video only allows a quick glance at the font on the word, "Hope".
  13. Robbk
    Yes, Both of those women had some crackin' good rare Detroit records back in the '70s. I even bought some off them!
  14. Robbk
    The label design on "Dear Santa" looks like those New York pressed Laurie Records-distributed labels from 1964-65. The recording sounds 1965-ish. I'd bet it was recorded in 1965. It may have been released later. But I'd be surprised if it was released as late as 1968 with that design. Even 1967 would surprise me. It seems that hope's early recordings were made in Baltimore. But, I read that at least one side of one of the 1966 releases was recorded in New York with Jesse Herring running the session (One of The Roleaks' cuts (if I remember correctly).
  15. Robbk
    I'd also like to know which recording studios he frequented, and if he worked in Philadelphia and New Jersey as well as New York.
  16. Robbk
    Yes, that was late 1961. So, I now haven't heard of anything he's credited for before 1961.
  17. Robbk
    There are no decent bios on him with any timeline. He must have been on leave from The Service in the very late '50s or at the beginning of the '60s. I don't remember any record with an arranging credit for him before 1962.
  18. Robbk
    He seemed to be always an independent arranger. It doesn't appear that he ever had an exclusive contract with any one company. It also doen; look like he was the major A&R man wit any label, unless he was for one or two very small NY labels while he was also free lancing with the majors.
  19. Robbk
    That would be greatly appreciated. You can go to www. Photobucket.com or www.imageshack.com (or a similar image uploading service), and sign up for a free account, and upload the scan. Then use "copy" the "for Forums" version's location code and paste it into your reply to this thread.
  20. Robbk
    A great Christmas song that's probably never played anywhere but Baltimore. I'll have to add it to one of my Christmas tapes.
  21. Robbk
    Wasn't "Say It Isn't So" just a production that Popcorn hadn't succeeded in placing with a label? It just fell through the cracks. He hadn't had plans to release it on a label of his own, nor was he able to get her a recording contract with a major, or even a decent-sized Soul label. It wasn't really ever slated for release during the '60s at any stage (was it?). As stated above, the RCA demo was only cut for the Grapevine release. I don't remember Wylie placing any record with RCA. As far as I know, from Detroit, only the Pied Piper crew did that.
  22. Robbk
    Don't forget "Beach", "Southern Soul", "Deep Soul", "The Chicago Sound", "Swamp music", "Sound of Philadelphia", "Sound of Memphis", "Muscle Shoals", "Detroit Soul" (non-Motown), "North Carolina", "Low Rider Soul"(East L.A.), "New Orleans Sound", "New York Sound", L.A. Sound", " , etc.
  23. Robbk
    Thanks. Bella Flowers was the sole owner, Syng McGowan just shared publishing rights to the songs he wrote, with Bella Flowers (the label owner). That's fairly unusual for a non-star. But, he seemed to have a decent following, with a fan club. So, they recorded in New York, with the likes of Jesse Herring arranging. I haven't heard of Tonny Kaye as an arranger (maybe that should be "Tommy Kaye").
  24. Robbk
    Then Higdon may have been a songwriter for Jobete music's office in New York in 1963-64, as Eddie Singleton, who ran it with Raynoma Liles Gordy, came from Washington D.C. and worked with many of the Baltimore people in the industry. As you state above, Higdon probably wrote it, and Stevenson added small changes, later in the pre-recording process.
  25. Robbk
    Running Numbers operations was a major way that many Black businessmen got working and investment capital in the 1930s-1960s in most of the big cities in USA. Most of them laundered that money through legitimate businesses. Some of those entrepeneurs were also in the record business.


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