Robbk

No. That's the same label design, but mine had James brown on both sides and he was singing, not talking, and the song was about 2 minutes long. It was a real song, like "Don't Be A Dropout". But, it was more funky, as it was from a later period. it was probably put out in conjunction with this release. One was The PSA for airing, while the other was a song to be played, in a rotation, just like "Don't Be A Dropout".

Hi folks. I had a James Brown King record from his late King period, which was a public service song telling kids not to take drugs. It was on the last label design, with a white background and artistic lettering. I think it was DJ only, and its catalogue number was not in the regular series. I think it had 2 letters a dash and 2 numbers (like JS-23). It was a funky dance tune. The only part I can remember was: "Don't take drugs, y'all, there KILLERS! Good Gawd! It was very funny. I had it in L.A. in 1966 or 1967, while attending university. I took to a friend's house in The hot San Fernando Valley, for him to hear it. Four of us went in my car to Busch Gardens to take the free tour, and drink a lot of free (American watered down beer) . I inadvertently left the record sitting on my dashboard top. After a couple hours of drinking and relieving ourselves we returned to my car to find the 45 warped like it had been wearing curlers to get a perm! I was heartbroken. It was the only copy of that record I'd ever seen. I never found another. I've looked for it on You-Tube, but can't remember the title. When I describe it, they just keep sending me to Polydor's much later, "King Heroin". Do any of you know of the King record, and its title. If you have it, I'd also like to see a scan. Thanks for any help. It was pants-wetting funny!

I agree. As I stated above, I think ONLY "Do It To Me" and "At The Party" sound really like Ray. "Playing It Cool", "Chance For Romance", and all the others sound much, much more like David. I think the source of the "information" that those others were also Ray was a guess and became an urban legend, with no real basis from an authoritative source.

He's singing on "At The Party" and "Do It To Me". (Little)David Coleman sounds a lot like him, and was the other singer with Hector Rivera's Band on Barry Records. Barry 1012, 1013 and 1020 cuts sound more like David than Ray. Just my opinion. There seems to be divided camps on that. No one seems to know for sure.

No surprise that I don't recognise it. It's in a style that's not to my taste at all. Usually, from the style of the arrangement, and the sound of the instrumentation, I can peg the recording in time, and sometimes to a given record label, or even producer. But, I can't even tell roughly when this recording was made. I would guess 1967-68. Definitely a "White" artist. He sounds "American". I don't hear an underlying "accent" under his "fake American 'Black' accent". I'd guess that he was from The US. But that's no guarantee. As that similar "fake American 'Black' accent" is often fairly close whether sung by US Blue Eyed Soul Singers, Aussies, (Anglophone) South Africans, Canucks, Kiwis and the like.

Where is the link to it? I haven't been able to listen to it?

A Hal Davis/Chester & Gary Pipkin written, L.A. Jobete Music office generated song. We've never located a tape or record of any signed Motown artist recording it. I hope one turns up some day. I'd like to have heard The Velvelettes, Oma Heard, Brenda Holloway or Patrice Holloway doing it with Funk Brothers backing.

The "B" side, "She Loves Me So", title credits on those 2 different pressings varied, as well. On the large font, RCA Midwest pressing, it lists "Harvey and The Spinners" as the artists, and on the small font regional pressing, it lists only "Harvey (formerly of The Moonglows)" as the artist.

Kent Harris worked at Jobete Music LA. in 1963-66. His name appears as a writer on the Highland record. Maybe HE was the person who got hold of the background track? He was certainly a friendly colleague of Hal Davis and Marc Gordon.

Yes, that's what Ron told me. I knew several Detroiters that had known George. Apparently, he was a fairly sinister character. Ron put out some cuts from Gold Soul masters out on some of his small oldies labels during the late 1980s and beginning of the 1990s, and 2 Dynamics' cuts from Gold Soul as a special edition Soulful Detroit funding mechanism.

My original, which I bought in early 1966, has 56960-x from the Monarch pressing period of the beginning of November, 1965. So, the 990 # is definitely a boot. +***/ /+

Terre Haute is in northwest Indiana. That issue was distributed all over The Midwest and South. The ARP issue must have been a specially-needed additional issue, probably for Michigan and perhaps the upper Midwest. I saw many of both in the Chicago/Milwaukee and Detroit areas.

I lived in Los Angeles most of each year from 1966-1972, and was looking through hundreds of thousands of 45s then, at least 2 days a week. I saw hundreds of copies of Champion records. The regular black stock issues and white DJs that were pressed at Monarch had the label font as shown on the scan of my personal copy (bought in 1966) below. I've seen that variety from your link. And it might well be on polystyrene. But, I'm pretty sure it wasn't pressed at Monarch. I think that one was sold somewhere in The South or Southeast, or possibly, a different Midwestern issue from that of Dart. But I really don't know. It is legitimate, as I'm sure I saw that no later than the later mid '60s. At that time, I was making record hunting trips across USA and Canada each year. It would be nice to know what is etched in the trail to be sure.

Mine was tongue-in-cheek as well!

If there names were spelt: "Carole and Gerry", that theory might bear more creedence. AND, in addition, if the female sounded even remotely like Carole, AND, if the songwriting sounded anything like their writing style, I might think there would be a possibility. However, None of the non-name elements are promising, and I really doubt that Gerry Goffin would have allowed his name to be written with an "i" ending. That just wasn't done during Gerry's youth. It's too Monti Rockish, if you get my drift.

Yes, I am aware of Dearborn company sleeves, and have my lonely one Dearborn Record inside of one.

The snacks sold should be popcorn!

Aha!!! Brussel!!! I know the place. I have cousins there who I visit each year, same in Antwerpen en Luik (Liége).

No doubt that Columbia/Epic's lawyers contacted Mr. Hanks.

The D-Town Devotional Series has some really nice recordings. One of my favourite Gospel recordings is # 204:

That walking street looks like Germany. Is that in Osnabrück?

No. They are from photocopies of original records onto paper, and the paper cut into smaller pieces with mostly the logo. Some of the photocopies were made in colour, and some in black & white. I hand-coloured the black & white photocopies as close as I could get to the label colours, using marking pens.

A few more:

A few more of interest: Mind you, I have hundreds of '50s labels with hand-made "company" sleeves. But, as this is a Soul, rather than R&B forum, I've shown mostly '60s. But my collection is about 1/2 & 1/2. I started collecting in 1953, and collect music from 1936-1972 (but very, very little of it is 1969-72). My U.S. Red Bird records are placed in UK Red Bird sleeves. But my Blue Cats are as below.