Robbk

I never saw those in USA. Surely they were made in USA for sale in another country. The US label never used that design.

I'll be very surprised if more than 2 are Motown cuts.

I'm a Gypsy. I divide my year (every year) in five locations: The Netherlands (4 locations: Oude Niedorp, Leidschendam, Veldhoven, Nijmegen), Denmark (Allerød), Germany (Munich), USA (Los Angeles), Canada (Winnipeg). I'm never more than 3-4 months in any one place. So, I can't be represented by your map. But, then, I rarely participate in any events these days. So, maybe it doesn't matter.

Most of us like songs from our late teens through early 20s, best. I'd guess he'd choose several songs from the1940s and early '50s. I'd expect a few big band cuts (maybe Count Basie or Duke Ellington, maybe a Billy Eckstine or Sarah Vaughn vocal. Maybe some city Blues (Jimmy Witherspoon? Dinah Washington). Maybe some Pop crooners (Bing Crosby, Doris Day?). One thing is sure: Neither "Do I Love You (Indeed I Do)" by Frank Wilson, "Like A Nightmare" by The Andantes, nor "When I Needed You" by Little Iva (AKA Miss Ray), nor ANY Thelma record will be one of those 8, nor will any of the records released by Ed Wingate's companies! I think MY OWN PERSONAL 8 would be the following: "Up On The Roof" - Drifters 1962 "Red Sails In The Sunset" - Five Keys 1952 "I'm Yours" - Flamingos 1954 "Liberation" - Afro Blues Quintet +1 1966 "Grand Spanish Lady" - Royal Ravens 1964 "My Girl" - Temptations 1964 (very late-I'll admit) "Young Boy" - Barbara Green 1964 "Found True Love" Billy Butler & 4 Enchanters 1963 Only ONE Motown cut - amazing! And NONE of my Motown Vault discoveries, nor any of our Airwave/Altair cuts! And no room for Blues, Gospel, Avant Garde Jazz, or one from the "Girls Group" genre! I'd need at least a Top 1000 to take to a desert island to take all my favourites. You Northern Soulies would neither be Happy with Berry's nor MY 8 choices. Even my own personal Top 1000 would include a heavy dose of 1951-54 R&B, 1949-1955 Chicago Blues, 1940s-'50s Gospel, late '50s-'60s Avant Garde Jazz, Afro-Latin Jazz, early '60s R&B/Soul transition, and early to mid '60s Soul, and early '60s Philles/Dimension style Girls Group style..

Yes. he worked in New York with Teacho Wilshire, and we can't mistake his rich tenor voice.

I wonder if that is Chicago's arranger, or a different Johnny Cameron, operating out of New York? Is this a vocal or instrumental?

Yes. Those Metros and Nelson Sanders cuts came from the Gold Soul masters that Ron Murphy purchased.

All the Soul King releases were legitimate. The label was run by my good friend, Ron Murphy. He was honest as the day is long. He bought all those Gold Soul masters from the owner, and he bought the Doni Burdick from its owner, as well. They were released in 1991.

I would guess that Ruth Dolphin was the money partner with Al Scott in Call Me Records, and was a half-owned subsidiary of Money Records.

Those group histories above were written and researched by Marv Goldberg, and come from Marv Goldberg's (Group) Notebooks, with help from Victor Pearlin, Gordon Skadberg, and Ferdie Gonzalez. If such copyrighted Internet sections of articles are posted, the author should be credited.

Yes. I thought I had made that clear in my post. But I don't speak English very often, so maybe mine is rusty.

That Grand Opening in 1962 (above photo) was Dolphin's #2 store on Crenshaw Blvd. near 51st St. in Liemert Park (The Crenshaw Area). The original store on South Central Avenue near Vernon Avenue, in South Central Los Angeles (about 6.5 miles east of the new store) was opened in the late 1940s.

The last session WAS in 1974, and I do believe it was a Junior Walker session (or, at least, Walker's was one of the very last).

If you mean Johnny Manship, I'll agree. But why would you think Joe Moore was a Caucasian? Or do you think he was an African-American with Blue eyes, like Billy Eckstine. I seem to remember seeing a photo of Moore, and he was a Black man. Do you have some authoritative source for that information?

I like "I Still Can't Get To You" much, much better than its flip. I guess I;m still a Chicago Boy, at heart. "I'm Lost Without You" seems to wander some, and doesn't have the nice horns. I just don't like the song, nor the arrangement.

"I'm Lost Without You" sounds a lot more like a normal Jesse Herring-written song, arrangement by him, and a New York recording than its flip. Clearly, as Andy stated above, Jesse Herring produced, arranged, and had these 2 cuts recorded in New York, as normal, and Gloria Toote just leased them to Mar-V-Lus, instead of releasing them on Swa-Ray, Toote Town, or Tru-Glo-Town. It was just a coincidence that the other side sounded more like a Chicago song, and maybe that helped The Leaner Brothers decide to lease it.

Also, it was "false advertising", as the only song on it that was released as a single, ("Tistin' Postman" wasn't even a hit, and the others were garbage LP filler material. The first cover is very rare, while I've seen scads of the 2nd. I;m sure that they switched covers very early in the LPs sales run, maybe near the beginning of 1963.

Yes, I mixed up "Can You Talk" being on Dootone, rather than Money, but I remember some very late Money re-issues (but maybe I'm just remembering the mid '70s re-issues. Anything after 1971 or so, is a blur to me.

I thought I remember yet another re-issue of "Can You talk, and maybe a couple others of Money's '70s releases being re-released (pressed up) for The Low-Rider Scene in 1980 or 1981. Maybe I'm remembering incorrectly, and that was in the late 1970s?

Record shop owner ("Dolphin's of Hollywood"), John Dolphin founded Money Records in 1954, after having sold his Recorded in Hollywood Records label masters. He ran Cash and Money Records until his untimely death from a shooting in late 1958. His wife ran the label into the 1980s.

Maybe Mar-V-Lus leased these particular cuts, as they sounded most like their own regular product.

Joe Moore's "I still Can't Get To You" is a Jesse Herring written song and production, but strangely appearing on The Leaner Brothers' small Chicago label, Mar-V-Lus. As both Herring and Moore worked out of New York, one would think this was just another of Herring's New York productions, leased to an out-of-town label, as Herring had done several times. But, surprisingly, this one SOUNDS like a Chicago recording! Could Herring have taken Moore to Chicago, to record Moore at One-Derful? Anyone know where it was recorded?

Clearly Monica must be Monk's wife or daughter. I guess he must have legally changed his name to "Higgins", as Cary Grant and so many actors legally changed their family names.

Monk Higgins' birth name was Milton Bland. I'm pretty sure he was related to Billy Bland (Satellite/St. Lawrence artist). Could Monica Higgins have been his daughter or wife? Was Monk credited on her '73 record?