Robbk

Joe Jefferson was the original producer of the session. Clearly, he leased these 2 cuts to Magnum first. I saw the record out on Magnum in spring 1965, at least a year before I ever saw ANY Mutt & Jeff record. Mutt & Jeff was Joe Jefferson's label. I believe he started it up in mid 1966, and re-issued Perry's "Move On Love". The Magnum Monarch pressing code numbers were 56294/5, which indicates mid March, 1965. I believe the Mutt & Jeff issue was released in 1966. I believe that Monarch used the same stampers as were used on the Magnum pressing, and, therefore, used the original code number from the year before. The MGM issue is Catalog No. 13621, which, I believe, was a 1966 release. That would indicate that Jefferson AGAIN leased Perry's record , this time to a major label (off the sales of its Mutt & Jeff release). I will now check the dating on the MGM 45 releases.

This order seems correct. I saw it on Magnum first. "Move On Love" was a hit in L.A. and S.F. bay area KGFJ and KDIA. Later, I started seeing a few on MGM (yellow DJs only). I can't remember seeing a black MGM store stock on this one. That must have been a national pressing/distribution lease deal. Mind you, I've seen thousands of Magnum copies, and only a handful of MGMs over my many years of record scrounging. MGM was very poor at marketing Soul music. Mutt and Jeff seemed to have some cross-over ownership with Magnum, to the extent that a few Magnum releases were re-released on Mutt & Jeff. That was certainly a re-issue in the case of Move on Love (a couple years later).

70627 would have been pressed in the middle of March, 1968.

Yes,-what is that Monarch number? I was living in L.A. at that time and all my copies have the ATCO number (13954). I don't believe I've ever seen a Karla or Karen record with a Monarch number.

Thanks, much!

Almost was the "B" side of "Don't Sign The Paper", which was the hit side that made the radio in Chicago, L.A. and anyplace in USA that I was in while that record was out (that had a Soul radio station). That was a re-issue of "Almost), as the Carla version came out first (It has pressing number of 12290, whilst "Don't Sign The Paper" has 13954). In addition, I seem to remember the Carla version out before the Karen.

Another small Detroit label associated with Andre Williams. I, too, would like to know the money people and others behind Hot Records. I suspect that Williams just found someone to finance the operating costs (recording time and pressing costs).

For me, "I think We're Gonna Be More Than Friends" is the better, but I can't wait to hear both on that CD (as well as any other unreleased gems that I didn't manage to get on tape when we perused The Vaults). Bob- was that "Daydreamer" side also by The Spinners? Or was that the Eddie Holland version? I hope it was a different recording by The Spinners. I'd love to hear them singing that song.

I've never heard of Ivy Hunter working at Wingate. I always thought that was Funk Brother (piano player and bandlleader, Joe Hunter (who left Motown in 1964 to work with Fred Brown at Mickay's, and who worked a lot with Ed Wingate's labels, as well as with Pied Piper and other non-Motown Detroit labels). Was I wrong all those years? NONE of his online bios mention anything about his working for Wingate.

I have read that Luther Ingram's "I Spy For The FBI" was recorded in totally New York, with Richard Tee arranging (both vocals and instrumentals). For "If It's All The Same To You Babe", Bateman had the instrumental tracks recorded in Detroit, but Ingram's vocals were recorded in New York. I would guess that ALL of those NY artists listed above had their vocals recorded by Bateman in NY. Not sure about Detroiter Teddy Greene. Bateman returned to Detroit to record Mary Wells' 20th Century Fox cuts. Most of the instrumentals on the above-listed records sung by NY/East Coast artists sound like NY recordings (rather than Detroit). But, Bateman still was using some Detroit tracks (as on the HIB release). So, it will be interesting to read which were recorded where. It will be interesting to find out which of the Detroit artists came to New York to record vocals. (I'd bet that Henry Lumpkin was already on The East Coast (he'd been with Cameo-Parkway after Motown). The new Monitors and Teddy Greene, and Barbara Lewis, however, would be interesting. Billy Woods was likely, NY.

I always wondered about the Detroit connection to Drum Records, knowing that Billy Hambric wasn't a Detroiter. And I always wondered how Popcorn Wylie and Tony Hester ended up witing for NY productions, and Stanley Mitchell ended up recording in New York. I knew about Robert Bateman using Popcorn Wyle and other Detroiters, Harry Balk's NY ties (Big Top, and distributing with Jubilee and Old Town), and Sidney Barnes' ties between the two cities (as well as Raynoma Liles/Eddie Singleton and crew (NY Jobete Office) George Kerr/Sidney Barnes, Gene Redd Jr., etc.). Now, the mystery has been unraveled. Thanks for that information. Don Juan Mancha lived for some years in Chicago, as well, working for local labels there.

I haven't ruled out the possibility of it existing. I'd like to see a scan of the label. Even if the original Clearly, NOT, as my scan proves. Which Fury releases has it spelt with a "K" (other than the alleged "She Said goodbye")? If anyone has one, please post it. I don't remember seeing it spelt with a "K" on any issues.

I'm glad someone recognises that we did something right. Now, if someone would upload the Delia Renee "You're Gonna Want Me Back".......

I've never seen it on Fury. And I've looked through a LOT of US 45s from when that record was out through 1984 (but especially 1964-1972). I've never even seen it on a discography or wants list. But, with what people find in the producers/label owners garages, I'm never surprised any more. Still, I'd like to see a scan of it, before I believe it.

Does anyone have a scan of the Fury issue with the Drum songs? If so, please post label scans. Are the recordings the exact same versions as on Drum?

I don't think so. Fury was operating into the mid '60s, using the 5000 series. That's when Billy Hambric was signed to them. Maybe Bobby Robinson bought the rights to the Drum recordings to distribute them nationally, and then released other recordings that HE made on Billy, after that? I have Hambric (spelled correctly) on Fury 5000. Notice that Bobby Robinson (and not don Juan Mancha) wrote the songs and produced the record. : I am pretty sure that this Fury 5000 series (after Robinson formed "BR Associates" (a re-organisation of his businesses)), was started AFTER the Drum record was first released. Fury lasted, at least into late 1966 (Willy Hightower releases (among others).

It sounds like from 1968 or 1969. It certainly could be a Nashville recording (if Hytones is correct).

That should be "Manufactured and distributed in Canada by Phonodisc Records". It looks like late '60s (somewhere during 1966-69). It sounds like a 1965-66 recording. I'm curious to know when it was released, and how "Money" came to Stop Records. "money had been part of Jackie's act for some years before this release.

Same for me, as I've stated above. There have been a LOT of errors on commercial CDs.I've seen New York productions released on Mercury Records or releases on one of their subsidiary labels, considered a "Chicago Record", just because that company's original headquarters was located in Chicago. Some of the people in charge of putting out "oldies" label anthology CDs working for labels that now own the rights to former major labels know almost nothing about the history . They are not all diligent like the people at Ace/Kent or Universal/Motown.

Most of The Canadian records I've seen say "Manufactured in Canada" on them (admittedly not all). Frank Motley did a fair amount of work in Detroit (and Jackie appeared there a fair amount). But I don't hear Detroit session players in the instrumental. I'll be interested to find out when those records were released, and where Star Shot Records was located.

I'm guessing that Gracie was living in Detroit. But, at that time McLaughlin was recording more in Chicago than in Detroit. So her cuts may well have been recorded in Chicago. But, I consider Ruth Records as a Detroit label.

It must be rare. I've never come across it. Yes. Please upload the A-side. I'm guessing that it'll be better (at least to my taste). Rod's review is spot on. This side is definitely lacking. But some of Redman's productions are quite good. So, I'm hoping the A side is a lot better.

I forgot that the Kenny Owens is country Blues with a great guitar break. Here's a link to it on You-Tube:

The Vanguards is R&B style, rather than Soul. I heard the Kenny Owens once. I don't remember it clearly. But I remember that it was on the "poppish" side, and not very memorable. It is not Northern-sounding, and probably not even marginal Popcorn.

There were only 3 Ruth releases (that we know exist)-. The 6 entries on SeaBear's list are both sides each of 3 Records: One The Vanguards (1958?), one by Kenny Owens(1962?) and this by Gracie Darnell(1963).