Robbk

If you haven't heard the R&B version by The Ban-Lons, you ain't heard NOTHIN'! https://www.youtube.com/watch?v=FbWyEwhlY2U&feature=related

I like best the "Male version"-"Can't Help Loving That Girl of Mine" by The Hide-A-Ways from 1956 (R&B greasy ballad). As for "Zing! Went The Strings of My Heart", I like best The Satintones' Motown version from 1961,also The Coasters', and various R&B group harmony versions from 1955-64. https://www.youtube.com/watch?v=0iwaYTSFW_Q&feature=related

BOTH songs are great! Both are slow mid-tempo. "Let's Get Married" is closer to a "ballad".

That Velgo record is in more than one US collection. There are a a lot of US collectors from back in the day that don't buy records anymore and don't frequent the Soul/R&B forums (fora). A lot of us bought a lot of Soul records when they were out and not only hit the record shops, but also distributors and the record companies, themselves. You might be surprised at what you would find (I guess many of you hear about them when they die, and their records are auctioned off). I wonder if some of them die with no heirs, and their old records are just thrown away into a landfil,l because the people that end up having to deal with them don't know what they are?

As far as I know, J2 was a division of Sue Records (The later Sue, which had a solid background -Wilbert Harrison, The Superiors, etc. (the 1-15 series). The J in J-2 stands for Juggy (Juggy Murry). J-2 had a solid blue background and a solid black background. I think that this was the 2nd incarnation of Sue Records (maybe after the first one went bust?).

From what I've seen, it appears that Jesse Herring had more of his productions leased to outside labels than released by his own labels, or those for which he was working. So, no, I'm not surprised that The Gems' cuts were leased out.

I don't trade most of my core collection, but I'm willing to trade records with songs that are not so well liked by me for expensive records I like a lot that I could never afford to buy (especially if the record I'm swapping is very valuable-and I can get several hard records I've wanted for long time, that I'd probably never get any other way). Know that generally, I value rare Motown more than off-Motown Detroit, and Detroit more than Chicago. But maybe we should continue through e-mail.

There should be NO DOUBT that that is a bootleg. Tru-Glo-Town never used that colour, nor that label design, nor that font. Also, we have no way of knowing whether or not it would have been released on Tru-Glo-Town, Toot-Town or TNT Records. All we know is that it was produced by Jesse Herring, Jr. and was a Tru-Glo_town production. It was likely just leased directly to Riverside Records (ostensibly because they thought the latter's ABC Records' national distribution would get the record a lot more exposure than they could do on their own). And it DID get sent to distributors and record shops all over USA. I saw it quite a bit in several different cities in different regions.

I have the Hy-tones on Bell, as well: Uploaded with ImageShack.us

As I'm not in The U.K., there may well still be only 2 known copies in The U.K. -However, that does not mean that a third might not end up in The U.K. I have been known to swap rare NS records for rare Detroit Soul and/or rare Chicago Soul records.

If you are referring to the red store stock, I have a third: Uploaded with ImageShack.us Uploaded with ImageShack.us

I think it was just a mistake. I don't think it was ever considered the "A" side. I only Heard "Trying Real Hard" on the radio (WVON).

I don't think that record got into shops. I didn't see it in Chicago, Milwaukee, Indianapolis, St. Louis, Kansas City, L.A. San Francisco, or Oakland(or even Detroit, for that matter). It probably didn't have much, if any marketing push from Mercury. It probably didn't have much of an initial press run. And most of what was pressed up probably ended up getting destroyed. I saw hundreds of copies of their other Blue Rock release, and saw it as regular stock in stores (but NOT "Why Weren't You There"). Mercury had a LOT of other releases on their main label, Smash, Philips, Fontana, Blue Rock and Limelight to keep track of and to push. It must have gotten lost in the shuffle. And wasn't Thelma Lindsey's out at the same time (or a little sooner)? Maybe mercury didn't want to spend time and money on unknown artists to split minute sales with a similar version of the same song?

I'd like to see scan of both sides of the Enith and Accent releases. Can't whoever is sending them to Ady also post them on this thread? I always do that when I have the record.

Al Johnson was African-American, and so was Lonzo Coleman. I always assumed that all of them were. But, I've never seen a photo of the group.

They sound a little "White" on "Co-Operation", but clearly sound very Soulful on all their other cuts.

Ha! Ha! Just like The Detroit male and Chicago female Jackie (Jackey) Beavers, there are both sexes of Jackie Days in mid '60s Soul in different US cities. I must say, however, that the Jackie Day on Tuff sounded like a woman to me (and so much like the L.A. Jackie Day that I wouldn't have guessed it was someone different. But then, there was Jackie Shane and Boy George and, so, I'll not always believe my own ears.

I've never seen a Jackie Day on Tuff Records. I thought Jackie Day lived and worked in L.A. I would have been surprised that she went to record with Abner Spector in Boston or New York. Did Spector lease the master to her two Tuff sides. What's the history of that release?

Dan and The Clean Cuts/Dan and The Clean Cut Clan-Anyone know much about this group? This was a Soul group, ostensibly operating out of L.A. (?), on Accent Records in 1964, and Scepter Records in 1965 and 1966. Their Accent release, "The Perfect Example", was a very nice early Soul ballad. I'd bet it was from 1964, not too long before Dan and The Clean Cuts signed with Scepter Records. i have a few records by them on Scepter from 1965. I'm pretty sure that Accent label was located in Hollywood, CA. I read that Dan & Clean-Cuts were from LA., but I'm not sure where they came from, originally. Don Ralke, one of their Scepter producers, worked out of L.A. And Gene Page, one of their Scepter arrangers, a;so worked in L.A. I'm not sure who Bloor-Hoffman were, but they were one of their production groups. I don't remember Edward Jackson as an L.A. arranger. But, I guess he also worked out of L.A. Their releases of which I know include: Accent 1116 "The Perfect Example"/bw "Broken Hip Party" 1964 Scepter 1289 "One love, Not Two"/"Good Morning" 1965 Scepter 12115 "Co-Operation"/"Walkin' With Pride" 1965 Scepter 12141 "open Up Your Heart"/"Let Love Win" 1966 Here's a link to the You-Tube page on which you can hear the Accent A-side, and also "Co-Operation", and "Walking With Pride" from one of their 2 Scepter releases: https://www.youtube.com /watch?v=s7ia4O78r2E https://www.youtube.com/watch?v=xysbD-tWVTo https://www.youtube.com/watch?v=sWNke6zRCE8 By rob_k at 2012-01-03 By rob_k at 2012-01-03 Uploaded with ImageShack.us Here's a quote from Al Johnson, one of the group's members: "I sang with¯»¿ this group in the 60's. Members: Art Dansby, Ed Johnson, Paul ? and me, Al Johnson. Those were the good old days of R&B." Art Dansby was producer on the Accent record, and was the group's songwriter and creative leader, and clearly must be "Dan". Alonzo (Lonzo) Coleman was lead on their Accent recordings, and it sounds like him on their Scepter cuts. Yet, he wasn't listed as a group member by Al Johnson. I remember meeting Al Johnson, as a Soul songwriter, aspiring singing artist and drifter in and out of Soul groups at the time, in L.A. in the late 1960s (maybe after he left Dan and the Clean Cuts-or IF he was a different Al Johnson). Does anyone know anything else about the group, or Alonzo Coleman? Edit Post Reply Reply With Quote + Reply to Thread Quick Navigation Soulful Detroit Forum Top Quick Reply

Thatt was "House of Records", owned by Jane Hill, on Pico Blvd. near 23rd Street in Santa Monica, California. She and her husband used to service juke boxes all over the L.A. area, starting in 1961. Their store was located on Main Street in Venice, CA before the early 1970s. They had a tremendous stock of old 45s and 78s in the '50s and early '60s and 45s in the '70s and '80s. Back in the day, they sold 45s for 10 cents each. Thems were the good ol' days!

Yes, I'm pretty sure there was one for each LP.

Or "Simon Soussain", as the case may be. That's an understatement, but a good rule.

I ran into a LOT of Japanese collectors and buyers in USA in the late '60s and throughout the '70s. Sometimes I'd go back to a long-time source and find out their whole stock was bought by a Japanese buyer.

Exactly! At the time I saw the boxes, The Little Joe Roman would NOT have been right for NS fans, but would have been a perfect sound for Japan and their Southern Soul style tastes. That is probably why Anderson only took a few copies (rather than full boxes of it), and why sellers for the Japanese market probably grabbed the boxes a little later.

Not bad at all. With a ZTSC number so late, I expected a '70s sound. But, it sounds like about 1968 or 1969. I've never seen it before, despite looking through hundreds of thousands of 45s in Chicago and Detroit in the late '60s and 1970-early 1972.