Robbk

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.

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).

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).

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.

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.

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.

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.

The question is whether or not they were resurrected in 1976.

This would be interesting to find out.

I also read that these 2 shared the role as lead singer. The Jan in The Specials is a man. But, the January Jones on Ascot and 20th Century Fox was a woman, who lived on The East Coast. The male Chicago R&B singer who might get confused for a Jan Jones, was JUNE Jones, of R&B VGH group, June and The Januarys. I don't recall any male Jan Jones in a group other than The Specials.

Yes. Heno Music was either Jump Jackson's alone, or a partnership of Jackson and Billy McGregor. I have some La Salle and Fay Records with both Billy McGregor and Jump Jackson's name on them, and you see McGregor's name on The Summits' record. All the "sweet Soul" records I had on both La Salle and Fay had Heno Music and both Billy McGregor's and Jump Jackson' name on them. The Blues records don't seem to have McGregor's. Jackson's name is not connected with Satch. Interesting that Jackson was originally from New Orleans. So, it may be that, in 1976, McGregor brought his Specials back to work with his friend and his ex-1960s colleague, Jackson, to do a Funky version of one of their old Satch songs. And ex-New Orleans resident, Jump Jackson, was then working for his old New Orleans friend and colleague, Allen Toussaint, and for the latter's Sansu Records. So, maybe there was no information transposition error, after all?

No, I meant Fipa Music. And I thought there was also a record label connected. But, I must have been confusing Fip with Fipa, regarding the label. And FIP Records' music publisher was Fipi, so I must have gotten Fipi confused with Fipa. In any case, Floyd Smith's FIP Records bears no relation nor connection to James Finch, or The Satch people, that I can tell.

Beltone was a subsidiary of Satch. The letters "SA on The Cassadons' record stand for Satch. James Finch, was producer on both labels, and songwriter on both, and McGregor's name isn't on the Beltone record, and neither is Heno Music. So, I'm guessing that Satch was a partnership between James Finch and Billy McGregor, and Beltone was just Finch alone, or Finch partnered with someone with a name starting with the letters "Pa", given that the music publisher was Fipa Music. There was a mid '60s Chicago Soul label titled "Fipa", and I've seen Fipa Music on other Chicago mid '60s Soul records on Fipa, and other labels. As far as the two groups, they have a bit of a different sound. On Satch, both Finch, and Jan Jones sang lead on different songs. Maybe The Cassadons are Finch on lead, with one or two group roster changes? Or maybe they are the same group, just with only Finch on lead. "Chicagoee" is difficult to spell conventionally. I would use "Chicagolike", or "Chicagoish". But I disagree with you there, about the two 1976 Sansu label designs looking similar to mid '70s Chicago records, either in label design or print font. I don't think they look alike enough to imply that the 1976 Sansu Specials' release could have been printed in Chicago. In any case, we haven't seen a scan of it.

ALL those artists are from New Orleans, or somewhere else in The Deep South. It seems strange that Chicago's Specials don't belong with them. The Specials recorded "I Can't Find Another" in the late '60s for Satch. And this SanSu list of master tapes makes it look like they re-recorded their old song in New Orleans, in a Funk Style in 1976. But, somehow, I have trouble believing that same Specials Chicago group stuck together from 1969 through to 1976. It looks like there has been some kind of mistake and transposition of information. I can't believe that a different Specials group recorded a song with the same title as another, earlier Specials group. So something seems wrong here. I think they put the wrong song title for the 1976 recording, and it is the 2-parter with the different title, listed on Discogs, or whatever discography I saw.

I saw it sometimes in my own company (unfortunately).

That HAS to be right, based on logic.

I'm pretty sure I remember seeing the Italic versions first. So, they would have been earlier, and the first press runs would have been smaller runs, before they knew if they would sell. I remember hearing both "You Stood Me Up" and "Fool For Your Love" played on WVON. Both had some decent local sales. Even flip side "Everybody Say Yeah" got some plays. So there probably were second, larger press runs of 212 and 214. Which left a lot of boxes of them in distributorships like United and others, because they didn't do as well as had been expected. But, I don't remember "I Can't Find Another" getting played.

Maybe Merrill was McGregor alone, or him together with a financial backer, who withdrew out of the deal, and McGregor then brought in Jump Jackson instead, and they formed Heno Music for their new partnership?

I have 514, "Fool For Your Love"/"Baby You Need Me". I have the Italic group name version. I thought I had 515 "I Can't Find Another", as well, and have 512 ("You Stood Me Up"). So, I knew there were 3, I just forgot. Billy McGregor, and Jan Jones who sang lead were involved in Satch, as well as James Finch. I wonder who arranger "D.S." was? Satch's Heno Music seems to be one of Billy McGregor's publishers, as it is also with him on Fay and LaSalle Records, along with Jump Jackson. So, I'm guessing that Heno Music represented the partnership of McGregor and Jackson, because McGregor used different publishers on his other labels. We had a thread about Satch in 2013, with Bob A. The Yank, myself, and others on this thread, where we discussed all this.

I only knew The Jan Bradly on Night Owl, other than a lot of Hard Rock, Garage, and some Lily-White Pop. What is the name of the group and song on Night Owl, and Stax version group? I'd guess it was a White Group. Kirchstein seemed to have a policy of channeling black artists to Sara, other than Harvey Scales on Cuca, and Jan Bradly on Night Owl.

The Specials had 2 releases on Satch.

Your theory may be true for some or many of the cases. But, I can tell you from experience of being inside record companies, and having one of my own, that there often wasn't one, single person in charge of keeping track of assigning and assigned numbers, and even company statistical and non-financial records, and records were kept (or jotted down) on-the-fly, in a rush, and hap-hazardly by several different people, and the right hand didn't know what the left hand had done, and often it became too late to undo the error that finally had come to be discovered. Remember, that this was before the days of computers. People were scratching out records of what they did on any piece of paper they could find (sometimes including napkins (serviettes). Like Murphy's Law, they would almost always find out the error was made, just after the record would go to the pressing plant. And the people at the plant were busy, so they couldn't be contacted till after the first press run was finished.

Chicago.

I would guess that the SanSu group is a different group - NOT the Chicago group that was on Satch Records.