Robbk

Mine just has AP-760A etched, and "Sheldon" stamped into the wax. I assume this is the common pressing. My copy of "Forget The Past"/"Nervous" by The Fabulous Playboys on Apollo 758-1-A also adds the date: 6-61, and an insignia stamped into the trail (in addition to the Sheldon stamp) it looks like a sideways lowercase "m". with an uppercase "T" superimposed over it. The -1 after the record number indicates the version or take number. If I remember correctly, the other pressing of "Honky Tonk Woman" also has a "take or version number" (either -1 or -2). I can't remember which. I hope someone else here will have that issue. The original Daco Records (1001) issue has the Sheldon stamp, and S-1305.

1. The original Motown master tapes of Suspicion would be very valuable. Other Motown tapes of it would be valuable. I don't know what a second generation unauthorised tape of it would be worth. 2. I'm not a Brit, nor a member of The Northern Soul Scene, so I don't know the protocol for NS DJs. I assume that NS DJs could play a Motown reference acetate as an original. 3. As an outsider, I'm not the one to ask this question. 4. There were several makes of blank tape used by Motown. I don't remember seeing AGFA among them. I don't remember them operating in the '60s. Determining the location of production is quite complicated, and where the vinyl/styrene records were pressed and mastered is what often can be discerned by reading pressing plant code numbers and mastering stamps. The delta numbers for Monarch pressing plant in Los Angeles, and the codes for the Columbia and RCA pressing plants are pretty straightforward in terms of referral to dates pressed. Those for many smaller plants are less clear. But one could write a book on that topic.

I've only seen them on orange.

Yes, all the Kellmac numbers are filled in.

These quotes are all correct and accurate, as to what happened. There were multiple tapes of "Suspicion" in the Motown Vaults. The version of "Suspicion" that I played for Rod, and that he got on tape was from the Jobete Music Co. publishing rights reference acetate, with no group (artist) name listed. There were other acetates with other takes. There is generally always at least one Jobete Music and also one Motown Records Corp. reference acetate, and was often an acetate for each take or mix made (although many of those were destroyed or "lifted" years ago).

I suspect that they might have been the same group as The Checkerboard Squares. Both recorded instrumentals in Detroit in the early/mid '60s.

Nor have I, and I saw all of Ron Murphy's stock that he purchased from the warehouse that Ric Tic used. And I had been in Chicago/Detroit all through the period in which they operated and have worked at Motown for some years, and never have seen any label that looked like that. It almost certainly must be a boot.

No, it's not an anomaly. There were many less white DJs appearing over the years than pink store stock. But there were enough whites to satisfy all The Soulies. I wouldn't use the term "rare" when discussing white DJs of "I'm Amazed".

I saw a LOT of the legit white DJ issue over the years, along with the pink store stock. I doubt that one would have much more value than the other. I never saw a boot of either (but that, of course) doesn't mean it wasn't booted).

No desired limit. Money limits its growth. Space is not a problem (I've got that in 3 countries).

Believe it or not, there are still Soul Music collectors in USA and Canada, who want songs on vinyl 45s (even if they were not released originally, during the vinyl period).

It's a matter of personal taste. I like The Camaros' best. The instrumental is sharper, and clearer, and the vocals are really nice. It sounds more "Detroitish" because you can hear those individual Detroit musicians more clearly.

That's right, and they were with Berry Gordy even before Tamla, as The Biscaines on Ridge Records (on which Gordy also recorded Don McKenzie (later with Miracle). Debbie Dean had recorded with him, previously, for Argo.

I seem to remember reading that Jobettes' record was from Indiana (but it wasn't listed on The Indiana Soul website. Kevin Knox was a Canadian entertainer. His company (with Ltd. in the title), must have been a Canadian company. But the record was a US pressing.

If that fabulous track were to have made a US 45, it would have been the version by one of their actual commercial artists/groups (I know I've heard one by at least one of them-Kim Weston? or Brenda Holloway?......or?). But that brings up the question of why there were literally HUNDREDS of cuts left in the can that I think would have been hits.

Not surprising, as the Tamala Lewis song was written by George Clinton's crew for Motown's Jobete Music office in New York. And, "A Touch of Venus" was written by L.A. Jobete Music writers for Motown in L.A.,-and Patrice Holloway's version seems to have a Detroit backing track.

The base playing and the beat are certainly reminiscent of Motown. But the remainder of the instrumentation is clearly not.

THIS is the thread title: The Most Motown Sounding Records Never To {have appeared} On Motown ? That, to me is a bit different from listing songs INFLUENCED by Motown. We mentioned the songs being affiliated by ex-Motowners, NOT as evidence that they do sound like Motown recordings, but after choosing the songs, as an aside, to explain that it is not surprising that they DO sound like Motown.

Doubly interesting, as I was living in Chicago at the time (South Chicago) and I worked in my father's store on The South Side (where all of my friends lived). To me, the melody and instrumentation on those Artistics cuts was more Detroit-sounding than Chicago. They sound very unlike the typical Carl Davis productions, which share more in common with The Curtis Mayfield style.

Yes, several of The Funk Brothers played on "I get The Sweetest Feeling"-and Ex-Motowner Sonny Sanders had a part in arranging it. But, it sounds very "Chicago" in its writing and arrangement-not really like a Detroit or Motown song. I wouldn't say that of all Carl Davis produced songs-as "This Heart of Mine", "I'll Come Running" and "So Much Love In My Heart" all by The Artistics and handled by Barrett Strong and Sonny Sanders all sound like pure Motown (much more, to my ears, than the Jackie Wilsons, -despite their Funk Brothers rhythm sections involvement.

No surprise with Don Davis' Groovesville crew (ALL had worked at Motown (including Don). Most were currently still working there (during the day and early evening).

Yes, I forgot to mention this one. Mickey and Kim from Motown Detroit, and Willie Hutch from Motown L.A.-not at all surprising. Mickey's L.A. group had other ex-Motowners (Clarence Paul et. al). This is really a Motown beat, melody and arrangement, unlike a lot of the East Coast recordings listed above.

Naturally,- with ex-Satintone, Sonny Sanders, arranging, ex-Motowny Barrett Strong as assistant producer and writer. Still, there was a much more heavy "Chicago Sound" element in these than in Robert Bateman's and Andre Williams 20th Century Fox Detroit made recordings on Mary.

Supposedly a Martha & Vandellas -style. But sounds much more like East Coast Brill Building (with a little Chicago Soul thrown in).

Can you post yours? I assume they had orders from different plants. But they may have re-issued it, as well.