Robbk

Maybe Columbia Terre Haute ran out of pink paper near the end of the first print run? I've seen enough of the gray ones to indicate that they don't represent a small, test run. Running out of a certain coloured paper and using another random colour has been mentioned by pressing plant personnel as the reason for that several times.

There seems to be more action here, lately, than all the Soul Music threads, combined!

If it has a delta number but no monarch stamp, then it could well have been pressed at Alco (Steel Co.) also in L.A.

I've got one of them, and was pretty sure it was pressed in the '60s. But, I'm in Denmark now, and not with my 45s. And after leaving here in 5 weeks, I'll be in Munich for 7 weeks, so I won't be able to check till September. But, maybe the Delta 84187 was a 2nd pressing. I know '71 was too early for press-ups for The NS Scene. But maybe he had a reason. Maybe Mouldy can ask him about the full history of every Shelly release?

If that were true, that would mean Shelly released "Packin' Up My Bags" on Shelly 2 years AFTER Imperial picked up "Mama's Love"/"Gonna Build Me A Man". I thought they both were issued in 1969.

Yes, "Mama's Love"/"Gonna Build Me A Man" on Imperial was also listed as '69. So, I guess my memory was wrong.

That sounds too late, unless Shelly did a re-pressing in '69. I think it was 1966, or 1967 at the latest, if I remember correctly.

So, Garrett recorded The Tribulations at Harmony Recording Studio on Melrose Ave. In Hollywood, and Imperial "sweetened it" (added strings?), or remix?, and changed it to stereo for their release. I remember it being played only for a week or two on KGFJ. Jimmy Connor's "Let's Get Married" was played for 2 months, and got better sales in Southern California.

I saw those Shelly Records at all 3 Dolphin's of Hollywood (Vernon & Central) ,(Manchester & Broadway) & Crenshaw & Leimert, as well as Pat's Records on San Pedro Place and Vernon, Sam's and Flash Records, as well as Crains, back in the mid-late '60s. It was pressed at Monarch. It must have been recorded in L.A. There weren't any good recording studios in San Bernardino that I remember. I remember that The Tribulations appeared in South L.A. clubs a few times. I always thought they were the same group as The Imperial Tribulations. Their releases were pretty close in time. There wouldn't have been 2 different Tribulations groups operating in Southern California at the same time.

I'll be curious to see what people write here. I didn't know there was any unpicked place there to find, anymore.

I listened to the 2 snippets. They sound like C&W to me. Perhaps a bit watered down (e.g. Country Pop?). Mel Anton was sort of a Pop singer, who sometimes sang pop with a slight R&B/Soul slant or a slight C&W slant. The R&B/Soul slant came particularly because Fred Brown and Joe Hunter's crew was mostly R&B and Soul writers, and their musicians were mostly Joe Hunters' ex band members (Funk Brothers), plus other Motown musicians, all moonlighting. I can't recognise Jamerson's line on these cuts, but I'd bet that he played on them.

I'd like to hear it, too.

Jamerson's name has been spelt "Jameson", and "Jamison" on several records. It's a common name with both those spellings, and a natural mistake. I think it's too much of a coincidence to have the first name start with a "J", last name "Jamison", and James Jamerson was a member of Mickay's and Kable's band leader and arranger, Joe Hunter's band, as well as his good friend, and also had been known to record with Hunter for Ed Wingate's labels, Wilbur Golden's labels, and several other non-Motown Detroit labels while both were moonlighting together.

This was The Combinations from Chicago, and the release was on Kellmac Records. It was dead rare. It was re-issued (I think legitimately) in recent years. "Why" is on the flip. Here's a beat copy. I have a mint one at home. But, I'm in Denmark now, away from my records.

So, Mel Anton and some others are singing. Is it C&W, Pop or Soul style? Haystack Brothers signifies C&W to me. Interesting that James Jamerson is one of the writers. He had been in Joe Hunter's band, and that is why he worked with Fred Brown and Joe Hunter's Kable and Mickay's Records.

I wonder why he sounded so different from his normal voice. Maybe, like Mary Wells on "Bye, Bye Baby", he was hoarse from several takes?

I have a lot of Al Kent records, and on that cut the vocalist doesn't sound like him. We talked about this on Soulful Detroit, and came to the conclusion that Al Kent produced the instrumentals, and probably the vocal recording of "The Way You've Been Acting Lately" but that the singer is not him. I'll be curious to find out who it is. He didn't sound exactly like any Detroit singer I could recognise.

"Don't Ever Go" is very nice. Too bad it was never released on Arock.

So far, no reply from Louvain or Parkman. I hope they are just very busy now, and will reply eventually.

Thanks. And at my age, and with my recent laziness in my training, leg-pulling can cause serious injury! You'd think a professed comedy writer like me would have a sense of humour. One of my most loved stories involved a dimwitted, uncouth, boor joining a "leg-pullers club". They compete against their town's rival "practical jokers' club" seeing which team can cause the most chaos by fooling a high-level celebrity into embarrassing him or herself publicly. They give points for successful outragious practical jokes, and a tally sheet of points for each leg-puller. It was such a well-received story, that it not only got the usual publshing in Europe, but actually got published in USA as well (where I have had very little published).

Nice detective work!

Yes. Now I remember reading the posts here about that. It seems like only a few months ago.

Sorry, I should have left the "so-called ' portion out. I was certainly including myself in the group of collectors/historians who know very little about her, and we are hoping there ARE some posters on this forum who DO know more about her, or who still have contact with Detroiters who were around in the '60s who might have known her.

All the Detroit Soul experts whose comments I have seen on Jean Banks, know nothing about her, other than the facts that she had one single 45 released on Carmen Murphy's Soul Records in mid 1963, produced and nominally arranged by Dino Courreay (Mrs. Murphy's A&R man and chief producer during 1963). In addition to her Soul 45, I seem to remember her name associated with an early to mid '60s Detroit girls group, and also seen her name on a few Detroit 45 credits. But, unfortunately, I cannot remember the group name, nor the labels involved. I have sent e-mails to Louvain Demps and Ms. Banks' great grandson, Christian Parkman, asking if they can tell us something about Ms. Banks. Meanwhile, I'm hoping that someone on this forum will ask any Detroit Soul performers or producers with whom they have contact (Lor Chandler, Clay MacMurray, Spyder Turner, Ronnie McNier, Frances Nero,etc.) if they knew her. And, of course we welcome hearing what anyone on this forum knows about her, already. I've already placed this query on Soulful Detroit Forum. Here are the sides of her Soul 1001 45 release:

I know. She was one of the main characters in "Who Killed Cock Robin?" But I was referring only to humans having that given and surname combination.