Robbk

Yes, it was only on an LP, at least in USA and Canada. I've never seen a "foreign" 45 or EP with it, but, I'm not an expert on non-US Motown releases.

“All Your Goodies Are Gone” was the only side of that 45 they played on the radio where I was (Chicago, L.A. San Francisco Bay Area). I got a nice bonus, and was very happy to find out that the flip was right up my alley, and MUCH, MUCH MUCH more to my taste than the "A" side.

As we've only seen the name, "Enigmatic Productions" on production of two old songs that were previously Co-owned by LeBaron Taylor and Don Davis, I assume that Enigmatic Productions stands for co-productions by Don Davis and LeBaron Taylor made AFTER Davis moved to Stax, and the latter had made his working arrangement deal with Al Bell, and are situations in which Davis is producing a recording which is using a background track still co-owned by both Taylor and Davis, according to their own deal made when Solid Hitbound Productions broke up in 1968 (e.g. Taylor didn't come to Memphis and sit in on the recording sessions of Joni Wilson, but his 1/2 owned old 1966 or 1967 recordings were used in new productions). Notice that Liz Bacone got production credit for "Flame, Flame, Flame". And I would guess that the flip of The Limitations' release would have been an "Enigmatic Production", ONLY if an old Solid Hitbound backing track was used on it.

That Joni Wilson track was CLEARLY recorded in Detroit, and was likely a George Clinton production. I don't know how or why Lebaron Taylor would have gotten his hands on a Ric Tic master tape. He WOULD, however, have had access to Revilot and Solid Hit tapes from Solid Hitbound Productions, which was co-owned by himself and Don Davis. The sound of the instrumental background of Joni Wilson's Volt cut written by George Clinton (ostensibly for Solid Hitbound Productions), is perfect for George Clinton's time with them. "Flame, Flame, Flame, on the other hand, sounds like it was recorded in Memphis at Stax's usual studio. Because Don Davis was working with Stax at that time, I assume that he had no problem with Taylor having his own Philadelphia artist use one of their previously-recorded Solid Hitbound tracks, as he, himself, would get money out of it if her record would become a hit. In fact, Taylor probably only got to place that record deal with Stax because Davis was working with them as a major producer and A&R man at that time.

Thanks. I think it has been well established that Louis Curry cannot possibly be Harry Gates. And there has been no connection found that there is any family relationship.

Ha! Ha! He's not the only one!!! Thanks Dave.

I have a hard time believing that Tony Micale was a member of The Fabulous Apollos. I'm sure I've seen photos of the group, at least on posters for live events (back in the day), and they were an all Black group. Tony was with Ed Wingate, as a member of The Reflections, and as solo artist, Tony Michaels, during most of the period The Fabulous Apollos operated. Besides, his voice is very distinct, and I don't remember hearing his voice in any of The fabulous Apollos' cuts. I think that that is a mistaking of Tony Daniels for Tony Michaels, IN FACT, using the link you posted, I got to Soulfulkindamusic, and Tony Daniels is printed there, rather than Tony Michaels.

Interesting to learn that Reggie Lamont was Tony Daniels!

Yes, Frank Brown owned and managed Valtone. I hadn't seen Val's name, but I assume (guess) that "Val" was his wife, named Valerie. I have read that Joe Matthews was a group member, and sometimes lead (I remember them having different leads on different songs).

I used to have long conversations with Kris on SDF. She hasn't showed up there for several years. None of Ralph and Russ Terrana, Dennis Coffey, Clay MacMurray, Spyder Turner, Jack Ashford, or any of the other people active in Detroit in the mid and late '60s, who posted on Soulful Detroit could answer that question when we first asked it back in 2001. The problem is that I'm not on ANY of the new media (Facebook, Instagram, and the like).

No, you aren't. I dislike it, intensely.

You are probably right. In any case, I can't place the singer's voice.

Sorry. I don't recognise that voice. He doesn't sound like any of the other male early teen singers I know. I don't remember anyone from Philadelphia that might be him.

He definitely is the Chicago producer/arranger who worked with Tyrone Davis and Jerry Butler. But there's no reference to any singing at all,- not even as a youth. He seems to have been way too busy as a musician to have been a singer, too. I doubt that he was a member of The Classics. So, I doubt that he sang "My World Is On Fire". I guess we'll probably never know. But maybe we should try to get ahold of Marty Coleman and Bassoline, IF they are still alive. They might remember that session. There was also Jimmy McHugh. But his voice was a LOT different from Jimmy Mack's.

Bob Abrahamian said that all the Detroit people he talked to didn't remember ANY Jimmy Mack appearing in Detroit. The same was told me by Ralph and Russ Terrana, who were running Terra-Shirma Studios in 1966, when Mike Terry recorded Jimmy Mack there. They said they didn't remember that session, and even if they did, they wouldn't have heard his real (non-stage name). Bob A. said that a large stock of that Palmer Record was found in Chicago, so, it could possibly have been James Mack's, and that James Mack (arranger on several Classics' sessions, and who arranged for others, like Tyrone Davis, MAY have been a singing member of The Classics (but, he never heard of any Chicago record by him to compare voices). So, maybe Ron Murphy was right that Jimmy Mack came from Chicago. Maybe James Mack is also the same as the rumoured Chicago artist, Jimmy (James) McDonald? Unfortunately, most of the people we'd guess were at the recording session, Mike Terry, Mike Valvano, Russ Terrana, Ralph Terrana, Dennis Coffey, Bob Babbit, Ray Monette, Marty Coleman(co-producer) are either deceased (1st two), or were already asked, and said either they don't remember the session, or they never heard his real name, or where he came from. Probably he only real hope is contacting Marty Coleman (AKA Cohen), IF he is still alive. He was a former member of The Valadiers, and co-produced and co-wrote many songs together with Mike Valvano. There is also a small possibility that the songs other Co-writer Bassoline (who wrote many other songs together with Valvano and Coleman, may have been at the recording session, or, at least, may know who Jimmy Mack was, or from where he came.

He was also a member of The Mello-Dees and The Lovetones/Love-Tones during the 1950s.

So, The Hamster singer was Jimmy McMillan, and I confused him with Chicago's Jimmy McDonald. So, the stories I heard about the Chicago producer, were probably about Jimmy McDonald. But, apparently, Bob Abrahamian never heard anything about McDonald singing. Nevertheless, that doesn't mean he never recorded. How many people knew that Mickey Stevenson made recordings?

Wow! I've never heard THAT! I'd be more inclined to believe Jimmy Mack came from The Midwest, rather than The East Coast. Is Mike Valvano still alive. He ran that Palmer session. He would be able to tell us who Mack was.

I would say there is NO chance, at all, that Jimmy "Mack" Harrison, AKA Lenny Curtis, is the guy who used the name "Jimmy Mack" to record for Detroit's Palmer Records. Jimmy Harrison, like his brothers, Wilbert and Bobby (AKA Bobby Harris), were born and raised in North Carolina, and worked in the music business, mostly out of New York. Lenny Curtis' voice on his End and Galiko 45s sounds absolutely NOTHING like Jimmy Mack on the Palmer cuts. I've been told by several people, and have only read that Palmer's "Jimmy Mack", was Chicago songwriter/producer Jimmy McDonald (not to be confused with the Gospel piano/organist of the same name). The latter worked mainly in Chicago, but worked occasionally in Detroit, as evidenced by his Palmer session, and his being seen at Motown. Every young, African-American trying to make it in the music business, probably went to Motown when in Detroit, to see if they could make a connection. He has been said to have done some work there. So, maybe he sold Jobete Music a song or two, or maybe he played as a fill-in musician in a couple recording sessions.

Here's Global Dog's 45 discography of Spry Records: 101 Lorenzo Holden - Pie A La Mode /Top Hat (57) 102 Frankie Marshall - Walk With Me/ Remembrance (57) 103 Harmonica Slim - Thought I Didn't Love You/ Going Back Home (57) 104 Jackie Kelso - Jumpin' Gee /Cooler Please (57) 105 Jack Rodgers - Train Whistle Blues/ ? (57) 106 Martin Dedrick - Don't Lead Me On/ Heartsick And Lonely (57) 107Nick Green & Don Jackson - San Antonio Rock/ Tall Quiet Stranger (58) 108 Johnny Woodson & The Crescendos - Dreamers From My Heart/ All That's Good (58) 109 The Deville Sisters - Alone Why Must I Be Alone/ (Oh) My Love (58) 110 Reuben Grundy - Every Word/ Sail Away (58) 111 The Deville Sisters - Love And Desire/ ? (58) 112 Frankie Marshall - I Found Out/ How Long Will It Last (58) 113 Gene Lamarr - Crazy Little House On The Hill/ You Don't Love Me Anymore (59) 114 Gene Lamarr - You Can Count On Me/ Just A Little Bit Longer (59) 115 Gene Lamarr - Close To Me/ Moon Eyes (59) 116 The Carousels - I've Cried Enough/ Did I Cry Enough (62) 117 Gene Ross - Rockin' China Doll /Please Forgive Me (61) 118 The Jesters - To Be Or Not To Be /Meet The Beat (62) 119 Les "Carrot Top" Anderson - Johnny Sorrow/ Brenda Lee (62) 120 Jackie Lee Cochran - Pity Me Endless Love (recorded 59) (released 62?) 121 The Carousels - Rendezvous/ Drive In Movie (62?) 122 Chavez and Chaney - Be My Love/ Picadilly Rose (63?) © 2005 Global Dog Productions. All rights reserved The 1000 series (including Johnny Woodson 1008, must have operated in 1963 from the looks of the label and vinyl pressing job. I'm sure there were more, looking at the label reminds me that I saw a few more of Spry records with that design on a 1000 series. Several of them may have been re-releases of 100 Series material. So Spry and Cenco operated at the same time for a few years in the early 1960s.

ALL the Cenco Records from 1961-66 had Class Music as their publisher. That must have been owned 100% by Gradny. The first Cenco record NOT published by Class was Ike & Tina Turner's 1967 release, using Ike's Placid Music.

I believe that Spry Records ran from 1957-1958. Cenco seems to have started in 1961, and I've seen records from that label through about 1968.

Recordo Music was Leon Rene's personal publisher, used as in-house publishers by his Excelsior, Exclusive, and Class Records labels.

THAT false connecting of "Class Music" with Leon Rene , and the fact that Roy Milton and Charles Brown and Johny Moore's Four and Three Blazers had also recorded for Leon Rene in the past, must have been why I thought that Spry Records may have been at least partly owned by Rene. It must have been totally Gradny's, with no connection to Rene or his Class Records. I had thought that Gradny's Spry was originally distributed by Vita, but Rene may have been a partner. But now I see that that was just a coincidence that Class Music was the same name as Class Records, but there was no connection, whatsoever.

A little too recent for me.