Robbk

There were oldies series out on various labels all through the '60s and '70s to feed the US market (Oldies 45 from VJ), Modern Oldies, Chess, Lost Nite, Lana, Era Oldies, Collectables, ABC(Goldies 45), Bell Oldies, Atlantic, Motown Hitsville, Eric, Hi-Oldies, Capitol Starline Series, UA Oldies, King(Gusto), Scepter-Wand Forever, etc.

You may well be correct that it was a '70-71 release. I just went by memory of that Era oldies series and later label design) (remembering that it didn't exist in 1965-67) They had a Golden label (Era Golden Oldies?). I knew it must have been out in the very end of the '60s or, more likely, the early '70s (but BEFORE the P 1972 dating on the records.

That re-issue looks to be from 1968-70 period. Apparently, Madelon Wilson leased it to Era to issue as an oldie, when it got some oldies play on US Soul stations.

I have 2 original copies. Both have "Tam 101 -G1" and "Tam 101 G-2" etched. No Sheldon stamp. 1719 Gladstone Ave. was the first address of Tamla Records, and was the address of Ray-Ber Music (and RayBer Records. That record was booted in the 1980sor early 1990s. I don't know if there were 2 or more pressing orders for local Detroit distribution, but as soon a many orders were coming in that Gordy couldn't fill, he made his pressing/dist lease deal with United Artists. So, I wonder why your copy had a Sheldon stamp or "Sheldon" scratched in the trail. I have NEVER seen "Sheldon" on ANY 1959 Tamla Record. NONE of mine have that, and I don't remember seeing a stamp (Sheldon or Bell Sound) on any 1959 Tamla. My first is 54030 from 1960. As the record was also mint, I suspect that it was a bootleg. Motown never issued any legitimate re-issued 45 of it.

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).