Robbk

Those were very common back during the end of the 1960s and through the 1980s. I don't know how easy it is to find them now.

I'd believe 1963 before 1959. My best guess is late 1961 or early 1962.

I would say it IS 100 % sure that Laurie used it first. But, I don't remember seeing it before 1961. I would guess it started no earlier than late 1960. I looked though 1000s of records in Chicago between 1959-61. I never saw it in 1959 or even 1960.

I should have brought more Quality, REO and Arc covers with me when I left Canada. I am short several Quality, and 4 REO covers. I have a surplus of 7 Arc covers.

I keep my Amy records in Amy covers, and my Malas in Mala covers.

Both of Popcorn's labels, Soulhawk and Pamline were distributed by Atlantic. So, why would anyone be surprised that Atlantic put a Pamline record out on the "Mother label"? Based on the distribution deal they had with Wiley, apparently, they had the option to move any Soulhawk or Pamline release onto one of their labels (Atlantic, ATCO, or Cotillion) IF sales on the original label were high enough to indicate an opportunity to sell more with Atlantic's highest level of distribution channels (or more well-known and well-respected label). That was a commonplace option the large distributors had written into their distribution deal contracts with small, independent record labels. He shouldn't have been surprised that it was released on Atlantic. But he's fully within his rights to ask for royalties from Atlantic's sales. However, based on what I've seen over the years, Atlantic had almost no sales. That Atlantic pressing must be extremely rare, as compared to the number of Pameline store stockers AND white DJ issues which have been seen back when the record was out, and have turned up over the years till now. It has also been very common for the major distributing label's issue to never get distributed after being pressed, or for it to fail, because they didn't give it a marketing push, or they didn't have people doing the groundwork who would give it any priority (e.g. they had LOTS of other records to push for which they had a much closer relationship with the record company). So, it showed up to potential buyers as one of their products, but the potential buyers never had any reason to be interested, not having heard of the label or artists, and never having heard the songs.

Yes, I do. But those years were long ago. I'll have to think about it for awhile. I remember Bob Hite, before he joined Canned Heat. He was chubby, clean shaven, with greased down Italian-style slicked back hair, sitting behind the counter in Westwood's Rancho Music (Westside suburban record shop), in a Hawaiian shirt, playing his ukulele. After we had been friendly for a few years, he told me about the new singing group he was forming with Henry Vestine, and a few other Blues record collectors I had met. When he told me the name, I blurted out "THE CAN'T EAT????? What kind of name is that for a BLUES band???? (I was an "Old Man" even at the tender age of 20) . That was 1966, and if I remember correctly, just when those new-fangled singular noun group names were coming in. When I found out the real name was "Canned Heat", I thought "THE CAN'T EAT" was better. Bob had an amazing collection of Blues 78s. I've met Mickey Stevenson, Bunky Sheppard, Ernie Freeman, Lonnie Cook, Gloria Jones, Mary Wells, Bo Diddley, Albert King, B.B. King, Dootsie Williams, Ruth Dolphin, Freddie Gorman, Robert Gordy, Dee Dee Warwick, Brenda Holloway, Lester Tipton, The O'Jays, The entire cast of "Amos 'N' Andy" TV show, Sam Cooke, Lou Rawls, prize fighter Sugar Ray Robinson, Mel Carter, Bob May, Cap Wortman, Jane Hill, Music Man Murray, The Wenzels, John Hillyard, Ray Avery, Art Turco, Lew Bedell, Art Rupe, Hunter Hancock, Lew Alcindor (Kareem Abdul Jabbar), and a lot more. I met a fair amount of record collectors, shop owners, and music industry people in Chicago, Detroit (I used to drive there 2 Saturdays a month to look for records from 1963-66 (right during the best music years), and L.A., and also the San Francisco Bay Area, where I lived in 1971-72, and had gone on several long weekend trips during the late '60s. So, I'll have more stories coming. None of my stories are funny. My funny stories all come from the 20 years I worked in Africa, The Middle East, and The Far East, and living in Germany. Nothing very funny has happened to me in The Netherlands (and that's okay with me. I like stability of a decent situation. Also, a lot of Black entertainers came into my father's stores on The South Side of Chicago, and in "South L.A." (actually, The West Adams section of it). I was a "Ghetto Child" in my mid and late teens and early 20s). But, right now I've got heavy work deadlines and am also working on my 2018 taxes (which is complicated - involving 3 countries). So, I'll have to pick this up some time in the future. In any case, I'm a lot better at bringing up things from a prompt (comment about something that triggers my memory, rather than trying to search among the cobwebs to find long unthought of memories).

I just want to say that while I remained in Lily-White Manitoba, I was an AWFUL, Awkward And down right Bad, dancer, who just did not have that Smoothness(which was roughly average for most of Canada) . After moving to Chicago, and attending a 60% African-American high school, and being coached by my new friends (most of whom were Black), I at least moved up from a rating of "pitiful", to the bottom of the "passable" range. Had I moved directly to the Lily-White Chicago suburb, where I moved 2 years later, I'd have remained in the pitiful category all my life. Well, actually, I might have picked up a little style, anyway, after moving to The Netherlands.

Yes, the Seattle label had nothing to do with Jack Ashford's Detroit label. And Patrinell Staten was a Seattle resident.

I not only shopped in all three stores but worked there, as well. The original store was located at Vernon Ave. and Central Ave. in South Central. The 2nd store was at Manchester Ave. and Broadway, in South L.A., and the 3rd was at Crenshaw and 43rd St., in The Crenshaw District/Liemert Park. I shopped at all 3, and also helped out, sporadically, carrying record boxes, and helped Mrs. Dolphin with inventorying her records. I also shopped at Flash Records, which was also on Vernon and Central, and Sam's Records, on Adams Blvd near Western Ave., Pat's Records on San Pedro Place and Gage Ave., and Crain's Records, on Adams Blvd. and West Blvd. in The Crenshaw District (which was owned by KGFJ DJ, Herman Griffith). All those were the classic L.A. Ghetto record shops which had extensive stock of R&B, Soul, Blues, Jazz, and Gospel records. I also had friends working at Record Merchandising (distributor), and a couple other distributors in L.A, and I had the same kind of coverage in Chicago for record shops and distributors.

Contours - "First I Look At The Purse" "I don't care if she waddles like a duck, or talks with a lisp, I just think I'd be better of if her Dollar bills are crisp.... 'cause first I look at the purse." Champion Jack DuPree - "Junker's Blues" (1940) "I was standin', standin' on the corner, with my reefers in my hand... Up steps the sergeant, takes the reefers out my hand...." The Jive Five - "People From Another World" (1961) "My heart started beatin' fast as it could beat, I stood there shakin' from my head to my feet, I didn't know exactly what I should do. When a monster said 'Which way is 5th Avenue'? I hollered 'Save me-e-e.... Save me-e-e, I hollered Save me, I hollered Save me, from The People From Another World!" Actually, the nonsense lines spouted from the aliens are actually even better, but I dare not try to spell them!

They were different label designs used by different plants, sometimes at the same time (e.g. there was some overlap but not completely). Yes, sometimes the difference was also because of a later pressing, but only when the plant used both designs, one first, and then the 2nd. How do I know this - it is because I saw both designs within a month or two of the record being released in different regions (when traveling from L.A. to Chicago or vice versa in the mid 1960s when I lived in Chicago but attended university in Los Angeles (returning to Chicago in fall ( Thanksgiving) break, Winter (Christmas). spring (Easter), and summer)). Of course, in those days. I looked for records, incessantly.

That must be an original. It looks EXACTLY like the original I have, which I bought in 1966.

He played piano, as well, especially to compose his songs. But, I don't think he did the arranging on any final recording sessions. I guess that the only thing that can be done to learn more about him, other than trying to track down family members through his parents' names, is to compile all his record label credits, and see all his music company connections, and follow those leads to find people alive today, who dealt with him, and see what they remember about him.

That's too bad. I guess I should have talked to Bunky about him, when I had the chance.

Yes, Karl was an excellent songwriter and producer. He was something like the "Popcorn Wylie of Chicago or Don Juan Mancha of Chicago", an independent producer/songwriter, who worked with just about everyone and every record label of consequence, in his city. I love his songwriting, both on uptempo songs and ballads. I think his style fit best with Carl Davis' productions, but I also like lots of his indie-tiny label work. I really don't know anything about his personal life. I never met him, or anyone with whom he worked closely. Bob Pruter would be the best source for information about him. Although Bob hasn't written much about Karl, he'd know more than what's been written. Someone ought to contact him.

I don't get why Jobete or Brohun wanted to publish them. And I can't figure out what happened to make that happen. Did Thomas first take them all to Jobete? Then, when the song eventually bought by Brohun was rejected by Jobete, as were the 2 I.H. published songs, Thomas took the rejected songs to Brohun, who bought only the one? Clearly, both Jobete and Brohun made no money on those 2 songs, other than the small fee they charged him to publish them.

Who were the writers of "Crying Tears Of Joy" and "I'm Gonna Take You"? Were Joe Hunter or Fred Brown involved in writing the BroHun song?

Jesse and The James Boys is Jesse James (an East Coaster. Jesse Thomas is likely to have been a local Detroiter, given that his label shows Detroit as the location, AND that the 2 music publishers we see on the labels, Jobete and Brohun, were both located in Detroit. Previously, I saw the "I.H." printed on the label of "I'm Gonna Take You" near the area where the music publisher would be, and I couldn't read the blurred printing below it. So, I thought "I.H." was Thomas' other (his own) music publisher. But BlackpoolSoul's posting a scan showing "Brohun Music" to show a connection, helped me figure out that the music publisher on "I'm Gonna Take You" 's label is "Brohun", which was the music publisher owned by the partnership of Joe Hunter and Fred Brown, who ran Kable, Mickay's, and Ring Records. I.H., the abbreviation of the label's name, was located in front of the record's catalogue number. Now, I'm even more shocked. Thomas somehow got BOTH Motown AND Hunter/Brown to publish his weak "vanity" level songs, and somehow got the money or found a backer, to pay for their recording and pressing (at least a minimum run). I can tell from the sound of his singing voice that Thomas is NOT Wyatt Shepherd, nor is he Carl Carlton.

I had thought I saw "Crying Tears Of Joy" and "I'm Gonna Take You" with Jobete Music on them, but I remembered wrongly. Seeing all 3 of those different-coloured 45s above, gave me the impression that ALL his songs were published by Jobete. Now, I see that all 3 of those I remembered were "My Angel Baby", and "A Lonely Sheppard Boy" was "I.H. Music", and the credits on "I'm Gonna Take You" were unreadable, and so short, that they are a LOT more likely to read "I.H. Music", than "Jobete".

I get your point. But, I made my statement based on the fact that his songs are very simple, not good, at all, in my estimation, and grossly unlike virtually ALL Jobete Music songs I've ever heard from the period of 1965-66. And they were WRITTEN by him (Jesse Thomas). He got them published by Jobete Music, sold them to Jobete, and leased them back so he could record them???

But why would Jobete Music already reaching a very high point of prestige and money-earning potential, publish some poor-quality songs written by a songwriter-wannabee, with not all that much singing talent (based on Motown's 1964-65 standards? Why would they publish songs from an unsigned writer and singer on a "vanity project"?

Are you making a joke? BOTH the music and the voices on The Royal Imperials' cut sound NOTHING like those on Billy Butler and The Enchanters' record. They are another group singing someone else's song, with a different arrangement and musicians, recorded in a different studio in a different city, with the label owner changing the song's title, and placing bogus credits on the label, ostensibly to "steal" royalties.

They must have been negotiating for the lease arrangement, and it fell through at the last minute.

I boght it new on Calla in 1967 or 1968. I've never seen it on Parkway. Calla was distributed by Cameo-Parkway at that time. I don't remember Cameo or Parkway leasing any Calla records to put out on one of their own labels.