Yes, it's interesting that these master leases from across the country got in the hands of small indie labels in another city. It's always about connections between people. One might wonder how it came to be that our little Airwave Records distributed Montab Records, but no surprise that we distributed Freddie Gorman's Rene Records, as he was an Airwave artist and songwriter, and worked on productions other than his own. Don't forget that almost all African-Americans in the "Rust Belt" cities of Chicago, Milwaukee, Indianapolis, St. Louis, Cleveland, Cincinnati, Akron, Dayton, Youngstown, Toledo, Columbus, Detroit, Erie, Buffalo, Pittwsburgh, etc, had frequent, direct contact with relatives and friends still located in The South. Abney must have known some of Eddy Bo's and Johnny Adams' people or contacts in New Orleans.
The Superlatives were the only artists on that label that I heard of gigging outside Detroit. They were certainly the "mainstay" of the label. But Dynamics had almost 10 releases, so, I wouldn't say it was set up just for that group, like Drew for The Precisions. Abney had seen how successful Golden World was copying Motown. He (like so many other tiny indie label founders in Detroit in the 1960s) actually thought he could make some money producing and selling records, writing and publishing songs, and managing singing acts. I actually heard of The Eldees, too.