Robbk

Yes, the OLD Modern series from 1945-1958 started in the early 500s and ran up to 1027 or so. The new series, started in 1964, and ran from 1001 to the1070s(?). From 1959 through 1963 most of their artists were shifted over to Kent Records. The same thing happend when the new Modern label was shut down. Kent ran for several more years. I haven't seen a better discography than Global Dog's, unless "Stack-O-Wax" is still operating. Maybe "Disco-File"? I've seen a few, but don't contribute anymore, so I don't have recent discographies. I suppose we could put together a discography of the NEW Modern label from contibutions of Soul-Source members.

Yes, it is a bit surprising that we didn't meet. I HAD heard of you. But, during those years, I was also spending more than half the year in The Middle East, Africa or The Far East, working on UN development projects, as well as spending a fair amount of time in Holland. So, my time in L.A. was concentrated from late November through end of February. And then, I was hanging out at Motown. I wasn't really looking for records much after 1972 (when I started living part time in Holland and started working for The UN. I might make a visit twice a year to John Hillyard's, and duck into Jane's House of Records, and the odd visit to Ray Avery's or that record's warehouse on Beverly Blvd. near Larchmont, but that was only a handful of days per year. I DO remember seeing some British NS fans buying records at those places. But most times, I never said a word to them. I was too busy trying to find things before they found them. You may have been one of them, as you were one of the earliest NS collectors to frequent L.A. But, I'm very surprised someone didn't refer you to me. Only Martin Koppel, Tim Ashibende and Rod Shard were given my name and contacted me. I met Bob Wagner and Nev Wherry and Simon Soussan on my own in record stores, warehouses or swap meets/record fairs, as they lived in L.A., so we were bound to meet eventually.

I'd like to have seen the look on that guy's face. You're lucky he wasn't a gay pimp! He might have hooked you up with a few "dates"!

All the Correc-Tone WDJs and stock copies I ever heard were the same for both "I'm A Coward" and "Puppet On A String". Wilbur Golden always had cash-flow troubles. I'd be surprised if he recorded both those songs twice, and released them both twice. There's enough confusion with those songs' releases on so many different labels as it is (Correc-Tone, SonBert, Ric-Tic, Do-De-Re). To have one more version of each song would really confuse things.

So, then they must have also made appearances in which the sang while playing instruments. I think the film I saw may have been an appearance on a TV show. They may have only been lip-sinking to a record of theirs, and so, would not need to play instruments. Or they just sang and the TV show's in-house band played. Anyway, thanks for setting me straight.

You refer to The Tempests a "band". To ME, a music-related "band" has always meant a group of musicians. Under that definition, The Tempests as singers, would have had to also play their own instruments. I have seen a video of them performing, and they were not playing instruments. If a wider definition were used, they would have had to have their own in-house band appearing with them, such as James Brown and his Famous Flames, or Gino Washington and The Atlantics. Did The Tempests have their own band for their appearances?

Your ears are fine. "I'm a Coward" is VERY different from "Gino Is a Coward", in tempo, instrumentation and vocal, and background singers. And, "Puppet On A String", although much closer to the re-recorded 1964 version, were both recorded 2 years earlier. After Wilbur Golden, at Correc-Tone had so much trouble financing his record company, and his chief A&R man, Robert Bateman left, and Gino saw that Correc-Tone was doing nothing for his career, he, himself, shopped those 2b songs of his to Ed Wingate and JoAnne Jackson at Golden World Records. They liked the songs and knew of Gino's great local club act and following, and got them to record updated versions of the 2 songs. And they used those cuts to re-launch their Ric-Tic label imprint in a new Detroit-based operation. Their previous Ric-Tic label, operated in 1962 and early 1963, shared the number series with Golden World, and recording was done in New York.

I think they were just trying to save printing costs by not putting it on both. I sincerely doubt that they were trying to warn the foreign DJs to avoid playing "Stubborn Heart".

Bigfoot sightings WITHIN the city limits of Detroit??? NO WONDER the population went down from 2 million to only 700,000!!! Only the people who owned assault weapons could risk staying!

What's interesting about that Sheppards' release was that The Sheppards didn't record directly for Mirwood in L.A., but that it was a Chicago production, leased to Mirwood. Eddie LaShea worked in Chicago for Johnny Pate, thus Pate's Pamco publishing. So, why would Mirwood single out a leased record for "international availability", and not do that with their own productions? There was no Northern Soul scene in 1967, and The Sheppards cuts, although quite good, were no more marketable to music fans worldwide, than most of the other Mirwood uptempo cuts.

That article only lists a few of Motown's stars' home addresses. What would be nice would be to have a detailed map of Detroit, as it was in the late 1960s, showing where all the recording studios were (already exists on Soulful Detroit.com), also showing where the then existing record companies, distributors, pressing plants (one exists (but not complete), night clubs and other music venues were located. We need a map combining all of those, and if someone wanted to add where all the singers lived, it would be a very cluttered map, but also very interesting. The same should be done for Chicago, Philadelphia, New York and Los Angeles.

I, too, like the Shorty Long cut. I like him singing in a mellow, less Bluesy style, sometimes. He sang a few mellow ballads while with Gwen Gordy's Tri-Phi Records. "Going Away" is a great example. The Hit Pack cut is also very nice, with a nice job done by lead, Robert Dobyne. The Oma Heard cut is nice, as well.

Interesting, that that 6201 W. Santa Monica Blvd. address for ALCO, was exactly 4 blocks east of ARDCO's address listed on their record sleeves: 1041 Las Palmas Ave., which was at the corner of that street and Santa Monica Blvd. So, their record distributorship was basically next to their metal parts manufacturing plants.

Wow!!! Even a store-stocker!!! It was withdrawn, probably from the pressing plant or distributor, with just a few escaping at the distributor, and, possibly from a few Detroit stores that got it, similar to the situations with Oma Heard VIP, Patrice Holloway and Kim Weston's "A Little More Love".

I was looking for records all over USA in 1964, and NEVER saw the scheduled release of "High Heel Sneakers" backed with "Funny How time Slips away". I have only ever seen it with "Music Talk", both on DJ and store stock. I NEVER saw the other pressing even in The Motown Record File and Jobete Music Record File. I don't think it EVER got to the pressing stage. I think the flip side was changed before it even got scheduled for pressing (e.g. it was only slated, and never even scheduled). Have any of you ever seen a scan of a pressed up Tamla 45, even WDJ?

The Delta icon doesn't ALWAYS indicate Monarch. The Delta signifies ALCO Steel Co. (Allied Steel). They served BOTH Monarch, and also Allied Pressing Plant (affiliated with Allied Record Distributing Co. (ARDCO). Monarch used vinyl once in a while, but not very much at all during the mid '60s (more in the '70s). ARDCO used vinyl off and on all through the '60s (although they also used styrene much more than vinyl).

Yes they look real enough. They must have come from an extremely small press run, as I had seen hundreds of script white DJs and never saw the block design. I was looking in L.A. 2-3 days each week during those years. And for 3 months in Chicago, as well. As I stated above, I would guess it's an East Coast pressing, as I had lots of coverage on The West Coast, and in The Midwest. These DJs were likely pressed BEFORE any Mirwood store stockers were ever pressed. So, that block print MAY represent the initial label design, which might have been changed during the first small press run batch, and subsequent runs used the script design, and, thus, ALL store stock runs used the script.

I bought almost all the Mirwood and Mira records in Los Angeles near the time they were released, and they were ALL the script, both in DJ and store stock. I NEVER saw any block print on store stock, or even DJ issues back in the day. I never saw any block print on those 2 labels ANYWHERE in USA back in the '60s, despite looki9ng through literally millions of US 45s. I would guess the block print 45s are '70s or early '80s boots. IF there were legit WDJs with block print, they must have been a very small batch done in an emergency , probably on The East Coast.

Thanks. That would be great!

I'll now want to get about 27 of those Greek sleeves to house my US Zodiac records. They look quite nice, and I don't care that they were not connected with Ric Williams' label. that's not half as funny as my Chicago 1953-1956 Parrot records by Paul Bascomb, The Flamingos, J.B. Lenoir sitting in mid 1960s London-distributed Parrot sleeves (instead of that Welshman, Tom Jones!

Both songs by Womack have his name as songwriter, the same as fred Bridges. but Bridges didn't give them both the same title. His second song with that title, sung by Hamilton, was renamed in his absence. I doubt that happened with Womack. I doubt that his Minit recording was renamed by Imperial Records people without his knowledge. Could he have forgotten that he wrote a song only 1 or 2 years earlier, with that same title? When he submitted the song to BMI to have it published, wouldn't the processing people notice that? I, myself, have noticed a similar problem in my own work. I have been writing stories since 1984, and noticed that I wrote two stories with the same title. But, fortunately, I submitted them to the same publisher, the second one 16 years after the first. They informed me of my oversight, and I promptly changed the title of the second story to an alternate one, which sufficed just as well. It only mattered in my host country, The Netherlands, as the titles in all the translations would have been different from the first story's in those languages.

Isn't "What is This" on Minit basically the same song as the Keyman version, just "modernised" and reworked into a different, updated style? Whereas, Fred Bridges' and Edward Hamilton's two songs titled "Baby Don't You Weep" are totally unrelated in any way other than the titles and being written and co-written by Fed Bridges.

Actually, it looks pretty good.

Here's one, but it's off The Internet, so it's not owned by me, and it is not at very good resolution, nor is it clear enough.

You were reading correctly. You are correct that Pickett's version was always listed as "Baby Don't You Weep" on the Double-L LP (which I never owned), and also on the Liberty re-issues. I stand corrected. I must have been thinking of Mack Rice's "Baby, I'm Coming Home". Must have been "a senior moment".