Robbk

And The Canadian (both French and English), as well.

"And that's Sade(pronounced as Sade) with "Hang On To Your Love". Sayd song and he said "IT'S SHARDAY!!!!" He must be the bloke who started the Narbay rumour! "Sade" is pronounced "Shah-Day".

Zed. Zed. Hill! I love it!

Harold Buer-razh Steve Mahn-chah ¡El acento en Español, está en la síliba segundo al finál¡. ¡Como Don Quixote de La Mancha, y Don Juan Mancha¡

Per-reee-Gents. I thought they were a kiddie Boy group. "Paris Gents". Chalfonte Street. is pronounced "Shall-Fontt". The final e is silent en Francais.

Not if they have a copy of that record!

It is Nah-Bayyyy.

I'm sure that MOST of them are deceased now. We had a scan of Lonnette's sleeve on this very forum, not all that long ago (maybe within the last 2-3 years? Hard for me to gage the last many years because it flies by so fast. I think someone just told me something within the last year, and find out that was 10 years ago.

All I can say is, if it DOES exist, I'd guess it's a LOT rarer the Lonette's picture sleeve, which I've seen probably 75 copies. I've never seen nor heard of an Art Posey picture sleeve. And to put it in context, I used to go to distributors in Chicago once a week from 1965-72, and drove to Detroit to look through record warehouses, record shops, discount store record racks and piles, thrift and junk stores, and even furniture stores that carried used records two Saturdays a month. I must have looked through several million 45s in all those years, and saw a LOT of both of those records. But I never saw the Art Posey picture sleeve. I knew a lot of the big Detroit Soul collectors. I never saw it in any of their collections. I knew Art. He recorded for our Airwave Records. I should have asked him for one!!! Ha!Ha!

No. I read your comment, as I did all the comments before my post. I'm just old and can't remember almost any short term happenings. If I live 30 more years, I might remember it THEN. I can remember everything from 50-70 years ago. But I can't even remember what I wrote at the start of this post!

Kim Weston - "Do Like I do" and "I'll Never See My Love Again" Fabulous Apollos - "The One Alone" and "Everything Bad....." Jimmy Ruffin - "In The Neighborhood" and "On The Avenue" Just to name a couple. There were many done at Motown, but also a lot by other, smaller Detroit Soul labels, as well. Lot's of Chicago and L.A. labels did that, too.

Hi Ady, Actually, I must have had a senile moment when I "remembered" wrongly that the M. Jackson on the Maurci label was Mckinley Jackson. It was Maurice Jackson of Chicago. So, there is NO Detroit connection to trace from Maurci to Dave Hamilton, at least not from the Maurci label credits. We'd have to talk to someone who worked with Gene Chandler or Symtec Simmons to find out if they had any connections to Detroit people.

This one is interesting. I wonder who the connection is. Popcorn Wylie worked on "Going Back To Detroit", and knew Jonny Mae Mathews from the beginning. He recorded for her on her Northern Records in 1960. Maybe she leased it from him for a token amount.

Frank Brown later, using one of his earlier tracks on his same group, with a better song.

Are you saying that Motown used VJ's original backing tracks, or that VJ. used Motown's? Which one was recorded first?

No surprise here, Dave Hamilton using his own bg tracks on 2 of his own productions of 2 of his own artists.

Detroit bg tracks bounced around that city quite a bit during the 1960s. Stewart Ames' J&W cut was first, and likely was originally recorded with Ed Wingate's money. Jock Mitchell worked with Harry Balk at Impact Records when Balk's lmpact/Inferno were distributed by Wingate's Golden World. So, Mitchell, like Duke Browner, John Rhys, and others of Balk's crew, likely had access to tapes at Golden World. Maybe he took that to Golden Hit? - Or told his new boss there, that he liked that track, and wanted to sing to it, and Golden Hit's owner leased the instrumental from Wingate for a modest fee?

Both were L.A. releases, done by people who had worked together in The Keymen group of labels. Julian Brown wrote both, and Fred Smith produced both. So, clearly, Smith just used his own track on 2 different releases, by different artist, with different lyrics.

Kent Harris worked some with Hal Davis and Marc Gordon at times, during the same time they were operating Jobete Music's L.A. Office. I don't know for sure if he wrote any songs that were bought by Jobete. But, he certainly had access to hearing the tracks. Atkins' cut is a different recording, using different musicians, likely recorded in a different studio. So, Harris may have just remembered the riffs and changes, and written this similar song. It's definitely not direct use of the same tracks.

That's only one musical phrase repeated. No more than plagiarism than in thousands of songs. Not like the entire background verbatim.

Yes. But the owner who produced the original recording session, Dave Hamilton, said he knew nothing about Maurci, and didn't lease the tracks to anyone. Maurci was owned by Gene Chandler and Symtec Simmons. There's no evidence of any Detroit names on Maurci. All the rest of their releases recordings (Five Jades, etc., and even the other Monique cuts) sound like Chicago. So no way to find the connection there.

Probably. But, I bet they got a fair amount of Belgian, French and German sales, as well. Maybe a couple UK NS. too.

To take advantage of the growing popularity of The Motown Sound and the new growing popularity of Detroit Soul in The UK? It does seem a bit far fetched. It should have been released in The UK on a demo in 1965, or else for The Northern Soul market, perhaps in 1974 or after.

I saw The Volumes' scan too. It looked like it was real. I didn't see any signs of a Photoshop job.