Robbk

I don't think I've ever heard of a website that had that information. But, I think I saw a thread on The Motown Subforum of Soulful Detroit Forum, on which some poster posted a list with that information. I think Keith Hughes should know if such a list exists.

MOST of Malynn's distributed product was from labels owned by Money's owners (Mrs. Dolphin (John Dolphin's widow), and, later, perhaps a financier partner or (less likely) an A&R partner. Money (new, resurrected Money Records), Jerk, Ten Star, Call Me, Robin's Nest were all, at least partly owned by Money. Malynn, Highland, Pure Soul,and other Malynn-distributed labels had no other connection to Money Records, other than possibly using Arthur Wright as an arranger. The first (orange-coloured) Money label, and its Cash and Ball Records subsidiaries operated before Malynn Enterprises was formed.

I think it's also possible that it was booted for the low-rider scene, as the flip, "East Side" was played by them. "East Side" was, more or less, a tribute to The East L.A. sound, from which the low rider scene developed.

I've got enough extra Amy-Mla-Bell sleeves, as well as Fire, Fury, VJ, Specialty, King. Federal, DeLuxe, Bethlehem, Era, Chess, USA, Atlantic, Motown, Jubilee-Josie Group, Jamie and Jamie-Guyden, CIRCA, ARDCO, Scepter, Wand, End, Gone. and really, all the '60s, and many of the common '50s 45 sleeves. But, I would like it immensely, if I could get some of the rarer 1950s sleeves, like Flair, RPM, Modern, Crown, Aladdin, Jubilee, Gee, Rama, etc., AND if someone could make them for labels that never had any company sleeves, like Old Town, Prestige, Apollo, Sue, Symbol, Money, Cash, Savoy, Dore, Hollywood, Recorded in Hollywood, Parrot, Chance, United, States, Music City, Solid Hitbound Productions, Golden World, Ric Tic, Wingate, MAH's, D-Town, Wheelsville USA, Oneder-ful, Mar-V-Lus, M-Pac, Zodiac, Aquarius, Fortune, Hi-Q, Lupine, Bruce, Keen, SAR, Derby, Baton, Glory, Ebb, Arvee, Mira, Mirwood, Keymen, Master Key Productions, Renee, Ran-Dee, Magnum, HASA, etc., and every other label that never had company sleeves, but I have more than 10 recods of, and their distributors dodn't have distributor company sleeves.

I really doubt that "Elijah" would have been sought by The Low-Rider Scene members. Its flip, "East Side" would have been played by them, so that's a possibility. I was actually referring to Money Records that were "greasy ballads", like Vernon Green & The Medallions, The Larks, Lee Washington, M & M and The Peanuts, Don Julian.

Okay. So permission was given, legally, to issue it in Belgium. BUT, as no money went back to USA, (all rights-owning parties didn't receive their just compensation), it must be considered a "bootleg". Did the producer register "Tollie Records" as a company operating in Belgium? Or register "Tollie Records" as an official operating or trade name? Tollie Music Publishing was still in operation in USA. Were Jimmy and Vivian Bracken, or their heirs paid for use of their trademark name? Perhaps their rights to the label name lapsed after a number of years after their company, Tollie Records folded. But their music publisher still existed.

I guess that maybe I was thinking of the late '60s. I really wasn't buying much of anything from the '70s.

My first instinct is that Hank Jacobs was a jazz pianist, who recorded a lot of Jazz piano cuts that wouldn't lend themselves well to a Soul vocal on top. But, you are correct in wondering why a Jazz pianist would play a tune written by a Soul vocalist, if it weren't intended for a vocal by that artist or one of her contacts. It doesn't sound, at all, to me like a background to a vocal. If it WERE used for that purpose, it would likely sound "messy" to me, and I wouldn't like it very much (unlike the situation with Barbara Acklin's "AM I The Same Girl".

With a Delta number of 97939, that's got to have been in 1976 or 1977. That means it was a boot, as Malynn Enterprises was no longer operating by then. Money Records had also stopped (although, if I remember correctly Mrs. Dolphin started up Money again around 1979 or 1980, to press re-issues (mostly for The low-Rider Scene-I would guess). But THOSE legit re-presses didn't have "Distributed by Malynn" on them. Those late '70s Monarch pressings with "Licensed exclusively to Soul Galore" on them were pressed by Simon Soussan. I don't know for sure, but I sincerely doubt that he paid Mrs. Dolphin and Hank Jacobs for the rights.

Huh??? I was still buying 45s in Nederland in the early '70s, and I don't remember the US big hole format (other than in Soul bootlegs). Or am I senile, and just remembering the late '60s?

I've seen a few pressing from a plant different from Monarch, but, if I remember correctly, they also had "Distributed by Malynn Enterprises, inc." written on them. I don't remember an early pressing on Call Me Records, that was put out before it was distributed by Malynn. I'm pretty sure that Call Me Records was a subsidiary of Money Records from the start, and was half-owned by Mrs. Dolphin, and perhaps half owned by Hank Jacobs. So, as Malynn was Money's distributor before Call Me started, Call Me would have been distributed by Malynn from the start, and ALL Malynn-distributed Records had "Distributed by Malynn Enterprises" printed on them.

And bootleggers couldn't just print the letters "A ZIJDE" AND "SABAM" on their label to fool potential purchasers? SABAM could have no way to track down the bootleggers, with no real company name on the record, and hundreds of pressing plants in North America, Britain and Europe, where it might have been pressed.

Yes, I've seen 3 commercial pressings of "Angel" in people's collections, back in the '60s and '70s.

I'd call that a bootleg. I really doubt that SABAM was paid, and I don't believe they formed a new, Belgian record label, titled. "Tollie", just to release that one record. Alegitimate existing company that bought the rights would have had their name on the label, EVEN if they released a "lookalike facsimile" (something like the legitimate facsimile Luther Ingram HIB record re-issue). In addition, I really doubt that a legitimate Belgian issue would have a North-American large centre hole. Even a facsimile would have a European centre hole (perhaps with punch out capability). This was clearly booted for the European (and British) mid-tempo and Northern Soul markets, to try to look something like an original US pressing.

I never have, And I lived in Chicago when it was released.

I never heard of the two-vocals, no strings alternate take of "Tomorrow and Always" having a commercial pressing, or even a promo pressed onto plastic.

Yes, I should have written etched or engraved, rather than scratched. Semantics.

It has strings.

I have all 3 releases, but, alas, my eyes are failing me, and I cannot read what's scratched and stamped on the runouts. On all 3 "A Love That Can Never Be" always has H-GO scratched in, with Bell Sound stamped on. H625 has ARP scratched on, and Audio Matrix stamped on. H55596 has H625 scratched on, Bell Sound and Audio Matrix stamped on. The West Coast pressing has what KJW listed, Delta 37804, H55596, H625 and MR stamped, and Bell Sound stamped. The pressing with "Angel" has about 5 known. I've seen hundreds of the ARP pressing, and only scores of the West Coast pressing. "Angel" is super rare. The West Coast pressing is a li9ttle more "relatively scarce" than is the ARP pressing. But neither of the non- "Angel" pressings is "rare".

The issue of Motown 1006 that has "Angel" instead of "Tomorrow and Always", and "A Love That Can Never Be" on the flip, is by FAR the rarest. There are only a few copies known. It was the latest issue of the record, , made as a late change, to satisfy a lawsuit that was initiated by Nevins-Kirshner and Carole King and Jerry Goffin of Aldon Music, as that "sequel" to "Will You Love Me Tomorrow" did not give Aldon Music half their publishing rights. The small batch pressed up was probably a token, to show compliance with the out-of-court agreement. That pressing was made in Detroit (probably just 100 pressed (or maybe 50? Just to show a sample. I think it was made in June or July 1961. As far as I remember, both the April '61 Monarch and ARP (American Sound Studio in Detroit) pressings had strings. I think somene here got this Satintones' record mixed up with Motown 1000, "My Beloved", which had an earlier non-strings version, and a later, with strings version.

Ha! I passed up buying that Earl Jackson several times during the '60s. It didn't seem all that rare back then.

Yes, those 3 different pressings represent different plants. But, the one with "of Philadelphia" on the label was, by far the most frequent, being distributed on The west Coast, in The Far West, and in The East. The one with "Arlen" written on the side was issued in The Midwest, and, I believe in The South. I think the 3rd standard and simple label design was a second pressing, a few months after the first, and only issued on The East Coast.

Absolutely! Can't wait!

Everything's going very well. I'm doing a lot of work for Danish Disney (which pays a lot more than the Dutch office, so I'm in good shape). I had plans to stop in London on my way back from Canada to Holland back at the beginning of June, to visit Ady and the gang at Ace/Kent, but I couldn't swing it (but several of them were away on holiday, anyway). I hope to stop there maybe next May. Perhaps I'll be able to meet some of the other Londoners on this website, as well. And maybe I'll make a trip up to Manchester, as well.I hope to visit Stockholm and have an extended stay in Finland next summer, as well.

Wow!!! More LaBrenda Ben, Linda Griner, Rita Wright, Liz Lands, Oma Heard, Lollipops, Barbara Randolph, and even more Kim Weston, Brenda Holloway, Martha and Gladys! I'm drooling! And Kim Weston's is a slow Jazz tune! I can't wait!