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Robbk

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Everything posted by Robbk

  1. Thanks. But this link seems to be dead.
  2. Joe used to post now and then on our Soulful Detroit Forum during our early days (2001-2005), and answer our questions about the early days of Motown, and his own career afterwards. Unfortunately, in 2010, when Lowell changed our platform to keep up with The Internet's technical growth, we lost most of the archives of our 2001-2007 threads. The same is true for most of the threads that contained posts by lots of other Motown and Detroit musicians, singers, arrangers, producers, sound engineers, and other people who were in the music business in Detroit during the 1960s. It's a crying shame, as many of those discussions we had, would answer a lot of the questions people here have been asking in recent years. We lost tonnes of record label scans and photos of people back then, too. It saddened me terribly when those archives were lost.
  3. She was also an excellent singer in her younger days.
  4. So, as I had guessed, The Rose Marie McCoy recording was a demo to try to sell the song to a Record Company, but, unfortunately, we don't know who financed the demo.
  5. Wow! The Rose Marie McCoy is stupendously beautiful! Helen Miller was a writer for Screen Gems-Columbia. Does anyone know who was the producer, and what record company paid for the recording session?
  6. That happens often when several full boxes are much later found at distributors' warehouses. I was living in L.A. in 1967, but traveled all over USA, and can tell you that the Tag copies were always ever-present during the '67-'72, and the Jo By copies were rare.
  7. Thanks. yes, I had seen that statement for a long time. But Discogs has had several errors over the years. So, I wanted to know what the well-informed members on this forum knew from someone here possibly having had contact with the family of the original people involved.
  8. Wow!!!! 89th and Oglesby had to be a residential house in South Chicago, which was walking distance (a few blocks) from where I lived (at 89th and Chappel near Stony Island Park)!
  9. "United Record Distributed" must be a printer error. I doubt that they wanted it printed that way, meaning "This is a record distributed by United Record Distributors".
  10. Are you saying that The Conservatives were the same group as The Specials? I don't see any evidence of that on this record. I never heard they were the same group. I see that Johnny Jones, who worked previously with Curtis Mayfield, wrote this song.
  11. Yes, I noticed a LOT of stock from United at John's "Barn" in the 1980s, that I had left at United in the 1970s.
  12. United Distributors (owned by The Leaner Brothers) was a big distributor in Chicago. They distributed a lot of indie Chicago labels, as well as some national majors.
  13. Scepter picked up Jack Montgomery's "Dearly Beloved", and that sold some. So, why would Wand not even start pressing The Honeybees just because "Humphrey Stomp" failed? I'm sure I saw The Honeybees on Wand back in the later mid '60s. at least a photo of it.
  14. Is that the same Brooklyn group (The Puzzles and Four Puzzles) that sang "I Need You"/bw "My Sweet Baby" on Fat Back Records during the 1960s? They had been a Doo Wop group before they switched to Soul.
  15. So, then maybe Merrill Finch, alone, financed Satch Records at the start, and Heno Music represents a partnership between Finch and Jump Jackson, who was brought in because he had connections in the business that could help market Satch 212, and Billy McGregor was just an employee, as songwriter, arranger, and co-producer, or maybe he was a 3rd partner in Heno Music, as there were projects that he and Jackson worked on that wouldn't seem to have The Specials and Finch involved, unless the latter was a financier.
  16. As far as I remember, most of the major Canadian labels (Sparton, Quality, Regency, REO, Capitol, London, Apex, etc.) ALL had DJ issues, but, not in the kinds of large numbers you see from US labels, and often, they weren't coloured white (which might be one reason that there seems to be less as a % of total records pressed).
  17. I knew the Canadian label was Curtom - as my post below shows (was typing that and didn't see this come up). And I see that the distributor was Quality, which, was my first guess, in my list of possibilities).
  18. The most recent I remember of Curtis Mayfield's solo records issued in Canada were issued on Curtom Records of Canada, distributed by whichever Canadian firm distributed US Buddah Records' product. I don't remember which company that was (Quality, Sparton, Capitol, or another). But the actual label on the record was Curtom, as I remember. I have no idea for whom Curtis Mayfield record in USA, or what labels he appeared on after 1975 or so. I have little knowledge of almost anything that happened in The World after 1972 or so. I just haven't been paying attention to much of what's been going on. From 1946-1969 or so, I was VERY aware.
  19. Thanks for that information. It seems that I was partly correct about Scepter-Wand treating Garrison almost as if it were a subsidiary of theirs, only wrong about them having a part-ownership interest. But, with Garris, Garrison's owner and CEO being Scepter-Wand's in-house Sales-Promo Director, we can be sure that Garrison operated pretty much as an integral part of Scepter-Wand.
  20. The Impressions had several early releases on Sparton. But, I doubt that his Curtom solo releases were on Sparton. I don't know for sure, because I moved to Chicago in 1959, and was only back in Canada for a couple months a year ever since. And I wasn't paying attention to ANY records as late as when Curtis was having solo releases, in any case.
  21. I've seen one, many years ago (as well as a few scans of other copies (or, one other copy). However, even more rare is a third Don Juan Mancha - Johnny Terry Detroit production (after "Marvin Jones' "Dearly Beloved") - "She Broke His Heart" by The Just Brothers, from Empire Records, listed as Wand 1144, before it was also farmed out to Garrison. Only THAT one, I have never seen. So, I'm somewhat convinced Wand never did press that one up before Garrison got it. I've always wondered if Garrison was a partly-owned subsidiary of Scepter-Wand at that time. Otherwise, why would Florence Greenberg lease records from Travler Productions (Montgomery/Terry/Mancha) just to turn around and lease them to a completely independent, much smaller company, with weaker marketing power? I think Garrison had the same distributors pushing these records as Wand did, and pushed them no stronger or weaker than they would if they had had the bulk of their pressings on Wand. I think that Wand and Scepter treated Garrison as if it were just another of their own labels, like they did with Spokane Records in 1963-64.
  22. The question is whether or not they were resurrected in 1976.


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