Robbk

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.

I've looked through millions of 45a since those songs were released on Albums. I've never seen them on proper USA singles. But, "A Woman Who Loves Me" and "Man's Temptation" were on Juke Box 33RPM EPs. I don't believe that "You Ought To Be In Heaven" had an alternate pressing of "I Can't Stay Away From You" and "Man's Temptation".

Thanks for the information. I thought it was strange that there were no recognisable Detroit names on the record. It would seem that they should have found a better way to distribute to a wider network, than to have Wheelsville USA distribute for them. But, I guess that Wheelsville USA's national distributors would have then picked up the Hog Record through them. But the record was not very common. So, maybe it WASN'T handled by Wheelsville's national distributors.

Do you think it is the same group that recorded for Blue Rock?

I doubt that vinyl records are a true fire hazard. I think that my building's owners just used that as an excuse to force me out of my flat, as they had plans to tear down the buildings and build new townhomes on that property and would have otherwise been forced to pay me thousands of dollars, had I remained there till the official announcement that the buildings would be torn down. I've had thousands of vinyl records in several other locations and insurance adjusters never mentioned that as a problem.

Bob, for some reason, I cannot listen to your Mark Greene interview, as my new Mac's Quicktime player needs an add-on (I can't figure out which). So, what is the story of Mike Hanks' label distributing an East Coast production? Or did they come to Detroit to record it?

Are you saying that THESE Moments on Hog Records are the East Coast group that recorded for Stang Records, distributed by Mike Hanks' Detroit Wheelsville USA? I would have guessed that they were a later incarnation of the Detroit Moments, originally led by Herschel Hunter, that recorded for Herman Griffin's Hit (Hitbound) Records. Uploaded with ImageShack.us

As far as I know they were all recorded in Philadelphia. Krass just got the songs from Curtis Mayfield.

I nominate BobA and Ady Croasdell and Flynny for providing good record label info.

I had to remove my record collection from my flat in L.A. because the owner claimed his insurance company said it was a fire hazard, and threatened to withdraw their insurance policy to the whole 90-unit apartment complex, if I didn't remove them. I moved out within a month.

As I stated above, I always heard that it was a "New York label". But what does that mean? I believe Jap Curry ran the label out of Hampton, Virginia. Whether or not he made his distribution deal with a New York distributor, and had his records pressed in New York and Chicago, he may have recorded in Virginia or, possibly in New York. He may have recorded the vocals in Virginia, and had a sound engineer in New York handle the instrumentals. His band may have been recorded in Virginia doing the major portion of the instrumentals, and an engineer in New York may have done the final mix. The answer is that I don't know what actually happened. I guess we'll have to wait until someone who has a good source or knows what went down, replies to this thread. My personal guess is that this could be referred to as a Virginia/NY label (just as Harry Balk's Vicki Productions was a Detroit/NY operation, and Anna Records in 1958 was a Detroit/NY label and Check-Mate Records in 1961-62 was a Chicago/Detroit label, and Aladdin Records in 1956-60 was an L.A./NY label. In 1963-64, Motown was a Detroit/LA/NY label. If you judge a label's location by its corporate or entrepeneurial address, I'd bet that you'd call this Inferno records a Virginia label, as Jap Curry and all his artists resided in Virginia. They may have done some recording in New York, and may have had their records first pressed in New York, and distributed from there. That may be why people have referred to it as a New York label. In 1958, Anna Records recorded their demo tapes at United sound Studios in Detroit, their songwriting was done in Detroit, the artists and producers lived in Detroit. But they had a record pressing and distribution deal with a label owner in New York (George Goldner) and his firm paid for the final recording, done in New York with New York arrangers and musicians and New York's Goldner as executive producer (with producer credits). The records were mastered and pressed in New York and distributed from there. Did that make Anna Records a New York label in 1958, a Chicago label in 1959, when Chess handled most of those functions, or was it a Detroit label all along? The answer to those questions depends upon one's own definition of a label's "location". Does the latter mean "home city"? Does "home city" require a certain minimum % of business functions being performed there?

Incidentally, "Jap" Curry got his nickname from giving a report about Japan to his elementary school class. The nickname stuck with him all his life. The coincidence of "Jap Curry" being a Japanese form of a curry food dish did not help him shake that nickname (which was derogatory during the World War II years.